E Beaucamp (26 results)

Condition: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Hardcover. Condition: Good. Light wear to dust jacket; light wear to cover; sound binding; pages are clean. We are a library for a Benedictine abbey and seminary in Oregon; we appreciate your business!

Condition: Very Good. 345 pp., Paperback, previous owner's name to front free endpaper, else very good in a good dust jacket. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.

Condition: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. Dust jacket in good condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,500grams, ISBN:

Condition: Very good.

8° broschiert. Condition: Wie neu. 447 Seiten Buch hat nur minimalste Lagerspuren B02-03-03B Sprache: Deutsch Gewicht in Gramm: 589.

Condition: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. Dust jacket in good condition. Please note the image in this listing is a stock photo and may not match the covers of the actual item.

Hardcover. Condition: Very Good. Never read, no marks or highlighting in the book. Our copy is a university discard with the usual stamps and stickers. Hardback with no dust jacket, showing light shelf-wear.

Couverture souple. Condition: Comme neuf. Paris, Librairie Lecoffre, J. Gabalda et Cie, 1976, couverture souple, environ 23.5 X 16 cm, (une centaine de pages non paginées) + 330 pages + une feuille volante indiquant les sigles et abréviations. Exemplaire à l'état neuf, non coupé. On ne notera que de l'usure insignifiante à certains coins de la couverture. (AVERTISSEMENT ; Les frais d'envoi internationaux donnés par Abebooks sont souvent erronés veuillez obligatoirement m'écrire pour connaître les frais d'envoi réels pour l'extérieur du Canada AVANT de passer votre commande sinon vous pourriez avoir de mauvaises surprises. Paiement de préférence par Paypal).

Condition: New.

hardcover. Condition: New.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New.

Hardcover. Condition: New.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Brand New. bilingual edition. 268 pages. Italian language. 11.00x8.75x1.00 inches. In Stock.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: new. Hardcover. What is the art of commodities, and how does it contribute to shaping a city? The case of Venice, which perhaps more than any other late medieval or early modern city depended on trade, offers some widely applicable considerations in response to these questions. Commodities exist as such only when they can be bought and sold. Select materials, techniques and tools, motifs, and working processes are entailed in the conception and realization of commodities, with the aim of producing and selling in numbers. The art of commodities is an art of anticipation and organization, as complex as the material, social, and symbolic situations it results from, deals with, and contributes to shaping. In turn, an analysis of commodities allows for profound insights in these situations. The art of commodities ultimately presents specific challenges, solutions, and styles; it is an art of objects, as well as an art of cities and societies. In Venice, commodities did much more than circulate throughout the Lagoon: the city was made of them. The studies in this book consider the Serenissima's diverse commodities, merchants, and routes from multiple perspectives. This book focuses on the question of how Venice designed and exported its own identity through all kinds of its goods. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Frankfurt, 1999. 135 pp. Col. ills. Hardcover, d./j. - Dustjacket discol. on the spine.

Rilegato. Condition: nuovo. Dust Jacket Condition: nuovo. prima edizione. Harvey Miller Publishers In the Shadow of the Lion of St. Mark (HMSLSM 2) Typical Venice? The Art of Commodities,13th-16th centuries E. S. Beaucamp, P. Cordez (eds.) IV+268 p., 70 colour ill., 220 x 280 mm, 2020 ISBN: 978-1-912554-30-0 Languages: English, Italian Hardback The publication is available. Retail price: EUR 130,00 What is the art of commodities, and how does it contribute to shaping a city? The case of Venice, which perhaps more than any other late medieval or early modern city depended on trade, offers some widely applicable considerations in response to these questions. Commodities exist as such only when they can be bought and sold. Select materials, techniques and tools, motifs, and working processes are entailed in the conception and realization of commodities, with the aim of producing and selling in numbers. The art of commodities is an art of anticipation and organization, as complex as the material, social, and symbolic situations it results from, deals with, and contributes to shaping. In turn, an analysis of commodities allows for profound insights in these situations. The art of commodities ultimately presents specific challenges, solutions, and styles; it is an art of objects, as well as an art of cities and societies. In Venice, commodities did much more than circulate throughout the Lagoon: the city was made of them. The studies in this book consider the Serenissima's diverse commodities, merchants, and routes from multiple perspectives. Ella Beaucamp is a doctoral candidate at Ludwig-Maximilians-Universität München, where she developed her dissertation topic within the research group "Premodern Objects. An Archaeology of Experience", led by Philippe Cordez. She studies the high medieval stone reliefs of Venetian house facades, relating them to the larger context of Mediterranean trade and artistic production. The Centro Tedesco di Studi Veneziani, the Gerda Henkel Stiftung, and the Max Weber Foundation - German Humanities Institutes Abroad have supported her work. For her master's thesis she was the recipient of the Heinrich Wölfflin Prize from Ludwig-Maximilians-Universität München. Philippe Cordez is Deputy Director of the German Center for Art History in Paris. His research and teaching deal with medieval art history and more generally with object studies in art history. This work has been supported by the École des Hautes Études en Sciences Sociales in Paris, the Universität Hamburg, the Kunsthistorisches Institut in Florenz - Max-Planck-Institut, Ludwig-Maximilians-Universität München, the Université de Montréal, and the Sterling and Francine Clark Art Institute, Williamstown. His book Treasure, Memory, Nature: Church Objects in the Middle Ages, translated from French and awarded the Prize of the German Medievalists' Society (Mediävistenverband e.V.), is available at Harvey Miller Publishers. Table of Contents ELLA BEAUCAMP AND PHILIPPE CORDEZ Glass Vessels, Camel Imagery, House Façades: The Venetian Art of Commodities (13th-14th Centuries) MANLIO LEO MEZZACASA Sacred Objects by Venetian Goldsmiths (Late 13th-15th Centuries): Economics, Seriality, Identity NATHANIEL SILVER 'magna ars de talibus tabulis et figuris': Reframing Panel Painting as Venetian Commodity (14th-15th Centuries) BENEDETTA CHIESI Ivories of the 14th-15th Centuries: The Pride and Ill-Fortune of a 'Venetian Commodity' ELIZABETH RODINI Imitation as a Mercantile Strategy: The Case of Damascene Ware SUSANNE THÜRIGEN The Commodification of Ornament: Jacob Marquart's Table Clocks DARIO MICHELE ZORZA Crafting Venetian Quality: Printing Legislation and the Case of Gabriele Giolito's 'Orlando Furioso' (1542) Codice articolo 012649 -Language : english & italian text.

Hardcover. Condition: new. Hardcover. What is the art of commodities, and how does it contribute to shaping a city? The case of Venice, which perhaps more than any other late medieval or early modern city depended on trade, offers some widely applicable considerations in response to these questions. Commodities exist as such only when they can be bought and sold. Select materials, techniques and tools, motifs, and working processes are entailed in the conception and realization of commodities, with the aim of producing and selling in numbers. The art of commodities is an art of anticipation and organization, as complex as the material, social, and symbolic situations it results from, deals with, and contributes to shaping. In turn, an analysis of commodities allows for profound insights in these situations. The art of commodities ultimately presents specific challenges, solutions, and styles; it is an art of objects, as well as an art of cities and societies. In Venice, commodities did much more than circulate throughout the Lagoon: the city was made of them. The studies in this book consider the Serenissima's diverse commodities, merchants, and routes from multiple perspectives. This book focuses on the question of how Venice designed and exported its own identity through all kinds of its goods. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Condition: Very good.

Couverture souple. Condition: Comme neuf. Edition originale. Paris , 2006. 1 Volume/1. -- Comme Neuf -- Broché cousu . Format in-8°( 24 x 16 cm )( 504 gr ). ------- 287 pages. **************************** "" Ce recueil prolonge et complète celui que la collection a déjà consacré à la chronique de Jean Malalas (Mon. 15). Le premier volume avait pour objet d étude la genèse et la transmission du texte de Malalas. Celui-ci est centré sur le contenu et la validité historiques de l uvre: il s intéresse à Malalas historien. Les treize articles rassemblés ici s interrogent sur les singularités de la narration comme sur ses silences. Ces distorsions confinent parfois à la manipulation, qu il s agisse du passé lointain (biblique, grec ou romain), de la vie et de la mort des empereurs, de l organisation de l Empire, et même de l histoire contemporaine, politique ou religieuse. On se trouve face à des choix délibérés du chroniqueur, dont les différentes contributions explorent les motifs: goût de la narration et de l anecdote, philhellénisme, attachement à la cité d Antioche et surtout désir de légitimer l Empire et ses souverains. "" ****************************** ref 552.

Museum de Fundatie (Waanders), 2017. 136 pp., ills, 4to, paperb. Nederlandse tekst.

Original publisher's red cloth spine, hand-marbled paper-covered boards, gilt title spine, red ribbons, folio: title-page in red & black, introduction & description on the plates, 70 folio copper-intaglio plates with captions. Very fine copy. Volume Les Provinces de l'Ancienne France.

A LILLE. CHEZ EMILE RAOUST, LIBRAIRE. 1928. PETIT IN-4 EN FEUILLES (21,5 X 28 X 3,5 CENTIMETRES ENVIRON) DE (4) + 44 ET (3) PAGES, COUVERTURE CREME REMPLIEE ILLUSTREE, TITRE IMPRIME EN NOIR, SOUS CHEMISE ET ETUI CARTONNES DE L'EDITEUR. ILLUSTRE DE 23 EAUX-FORTES EN NOIR : LA COUVERTURE, 6 PLANCHES HORS TEXTE SIGNEES PAR L'ARTISTE ET 16 VIGNETTES, AINSI QUE DE LETTRINES, ORNEMENTS ET VIGNETTES GRAVES SUR BOIS. EDITION ORIGINALE ET PREMIER TIRAGE LIMITE A 125 EXEMPLAIRES NUMEROTES, CELUI-CI HORS COMMERCE SUR VELIN DE RIVES A LA CUVE, COMPRENANT LES EAUX-FORTES IN ET HORS-TEXTE AVEC REMARQUES. BEL ENVOI SIGNE DE L'ARTISTE SOUS LA JUSTIFICATION. EXEMPLAIRE "TRUFFE" D'UNE CARTE GRAVEE A L'EAU-FORTE AVEC CORRESPONDANCE DE L'ARTISTE AU DOS. (CARTERET. IV. 68). PETITES TRACES D'USURE EXTERIEURE SANS AUCUNE GRAVITE, SINON BEL EXEMPLAIRE.