Cranach Lucas Elder (30 results)

Condition: As New. Unread book in perfect condition.

No Binding. Condition: Good. Postcard in Good condition, with writing on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Good. Postcard in Good condition, with writing on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Good. Postcard in Good condition, with writing on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Very Good. Postcard in Very Good condition, with minor marks on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Very Good. Postcard in Very Good condition, with minor marks on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Very Good. Postcard in Very Good condition, with minor marks on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Very Good. Postcard in Very Good condition, with minor marks on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Very Good. Postcard in Very Good condition, with minor marks on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Very Good. Postcard in Very Good condition, with minor marks on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Very Good. Postcard in Very Good condition, with minor marks on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Very Good. Postcard in Very Good condition, with minor marks on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Very Good. Postcard in Very Good condition, with minor marks on reverse. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Near Fine. Postcard in near-fine condition, a little age-toned. Unmailed. Cards are sent in stiff mailers. Postcard.

No Binding. Condition: Fine. Postcard in fine condition. Unmailed. Cards are sent in stiff mailers. Postcard.

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. Jay J. Smith (Jacket Design); Adam & Eve by Lucas Cranach, the Elder (Jacket Illustration); Michael Holland (Author Photo) (illustrator). 180 pp. Solidly bound copy with minimal exernal and internal wear and use. Clean text on crisp, sharp and bright pages. Dust jacket suffers some shelf wear.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. Anita Karl & Jim Kemp (Design); Loretta Leiva (Jacket Design); 'Adam and Eve' by Lucas Cranach the Elder (Jacket Art); Jerry Bauer (Photo) (illustrator). Copyright © 1988 by Elaine Pagels. 189 + xxviii pp. A great, almost spotlessly clean copy and dust jacket! Solidly and tightly bound, essentially and nearly flawless copy and dust jacket with minimal internal and external wear and use. Copy with crisp pages, spotlessly clean text, and light shelf wear. Relevant newspaper articles placed by previous owner included. Minor stains on fore-edge. Smooth covers. Dust jacket shows minimal, minor or light wear around edges. Synopsis: How did it happen that Christlan tradition came to find sexual desire sinful and to claim that infants, from the moment of conception, are infected with the disease of original sin, that Adam's sin corrupted the whole of nature, which until that point had known neither death nor labor nor suffering? How did it happen that the Christian church, which also proclaims the infinite value of each individual and celebrates the moral freedom of all its members, came by the middle of the fourth century to insist that humankind~made in God's image~cannot choose not to sin? This great paradox at the heart of Christian, and therefore Western, tradition is the subject of Elaine Pagels's briiliant new book, Adam, Eve, and the Serpent, a work that will prove a landmark of htstorical thought and profoundly affect all future interpretations of the historical meaning of Christianity. The attitudes and values we associate with Christian tradition, particularly attitudes toward sexual matters, evolved in Western culture at a specific time ~during the first four centuries of the common era, when the Christian movement, which had begun as a defiant sect, transformed itself into the religion of the Roman Empire. These attitudes had not previously existed in the Christian form they eventually took, and they represented a departure from both pagan practices and Jewish tradition. Within a century of Jesus and Paul, the Christian churches, though widely divided on questions of practice and belief, all agreed that Christians must reject the Roman gods and refuse to reverence the emperors, who ruled in their name, For many of the leaders of the early church, freedom was the practical message of the gospel: freedom in its many forms, including freedom from tyrannical government, freedom from prevailing social and sexual customs, freedom from sexual desire, and freedom of the will ~ that is, self~mastery as a means to spiritual renewal. For almost three hundred years, Christianity prospered and grew as an illegal sect whose members increasingly reflected the diverse interests of an ever more complex population. By the fourth century, as the Christian movement became more powerful, the emperor Constantine reversed the long~standing policy of persecution and himself became a Christian. In the century following these momentous conversions ~of Constantine to Christianity and the church to a respected imperial institution~Christian teaching itself underwent a revolutionary change from a doctrine that celebrated human freedom to one that emphasized the universal bondage of original sin. It is this profoundly consequential transformation that is the subject of Elaine Pagels's monumental book.

Condition: New.

Condition: New.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Very Good. No Jacket. First Edition. 8vo - over 7¾" - 9¾" A very good copy in cloth boards (slight rubbing to boards and edges; few leaves warped). Tall 8vo 238+ [2] Text in German. Series: Deutsche Meister. See Freitag #1923 (gives 1923 date).117 b/w Illustrations.

Paperback / softback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.

Sewn as issued, pictorial wrappers with flaps. Very fine. London, Royal Academy of Arts, 2007. 4to. 400 pp. Richly illustrated in colour. Catalogue with 125 fully researched and illustrated entries. With bibliographical references and index. Comprehensive, 400-page catalog of a Cranach exhibition held at the Städel Museum, Frankfurt am Main, Nov. 23, 2007-Feb. 17, 2008 and the Royal Academy of Arts, London, Mar. 8-June 8, 2008.

No Binding. Condition: Very Good. Antoine de Marcenay de Ghuy, (after Lucas Cranach the Elder) (illustrator). Original Antique Engraved Etching, 4to, dated 1769 in the plate, a single folio leaf measuring 11 x 17 inches, with the plate mark at 16 x 9.5 cm. Text in French. **CONDITION: Very Good. Foxing as seen to margins, and faintly affecting plate in several places. **Please note that the scrapbook marbled paper here is not attached and not included; only used display what the work might look like if matted and framed. Last two photos are provided for information only. **Artist ANTOINE DE MARCENAY DE GHUY (1724-1811) has been described as an amateur painter, engraver and etcher, from an aristocratic family of the Arnay-le-Duc, a commune in the Côte-d'Or region of eastern France. He often worked in the style of Dutch masters Rembrandt, and his student Gerard Dou, experimenting to reproduce the dramatic effect of shadowing or chiaroscuro. Here, however, his inspiration is attributed to work of Lucas Cranach the Elder, the German Renaissance artist. (British Museum). The SUBJECT, "The Maid" of Orlean" refers to Jean d'Arc, the 15th century mystic and military leader later canonized as Patron Saint of France for her part in the French victory at the Siege of Orléans in 1429, resulting in the defeat of the English and Burgundian invaders, thereby enabling the end of the Hundred Years War and elevation of the French King Charles VII. "La Pucelle d'Orleans" was also a saucy epic poem by Voltaire satirizing her life and achievements first produced from the early to mid 18th century. Biographer Louis Morand identifies this as one of the artist's most popular works. Refs: C. LeBlanc, "Manuel de l'amateur d'estampes."(Paris: P. Jannet, 1854) p. 599, No. 5. L. Morand, "Antoine de Marcenay de Ghuy, peintre et graveur, 1724-1811. Catalogue de son oeuvre." (Paris, 1901). Fine Art Museum San Francisco A102751. We will mail any prints well protected in a flat box. And please contact us if interested in multiple prints in order to save on postage. (AMJ). Fine Art Print.

Condition: Good. Reichsdruckerei Facsimile of the woodcut. 38 x 27.5 cm. Reichsdruckerei Nr. 226.

Condition: Good. Reichsdruckerei Facsimile of the woodcut in black and gold on a blue background. 27 x 19.5 cm. Reichsdruckerei Nr. 498.

Condition: Good. Reichsdruckerei Facsimile of the woodcut. 33.5 x 23.5 cm. Reichsdruckerei Nr. 223,.

Condition: Good. Lithograph. 19 x 14.3 cm. (image). 32.3 x 25 cm. (sheet). Very Good. Light surface soiling, light specks of foxing. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821.

Condition: Good. Reichsdruckerei Facsimile of the color woodcut. 28.5 x 19 cm. Reichsdruckerei Nr. 288.

Portrait. 9, [1] pp. 1 vols. 4to. This painting on panel was owned by Mr. and Mrs. Samuel C. Davis, and along with a reproduced image, this volume contains authentication from leading specialist of the day. Bound in full crushed blue French Levant, moire silk endpapers, by Spink & Gaborc, Inc. for Mr. and Mrs. Samuel C. Davis whose name is stamped on the upper cover. Laid in cloth clamshell drop box Portrait. 9, [1] pp. 1 vols. 4to.