Hellebranth (8 results)

Couverture souple. Condition: bon. RO80063065: 1960. In-4. Broché. Trčs bon état, Couv. fraîche, Dos satisfaisant, Intérieur frais. Environ 30 pages, dont XV planches illustrées en noir et blanc. . . . Classification Dewey : 750-La peinture et les peintres.

Couverture souple. Condition: bon. RO20066120: 1963. In-8. Broché. Etat d'usage, Couv. défraîchie, Dos frotté, Intérieur bon état. environ 20 pages, annotations, gravures noir et blanc hors texte. . . . Classification Dewey : 56-Catalogue.

Hardcover. Condition: As New. Dust Jacket Condition: As New. James A. Houston (illustrator). 1st Edition. Limited Edition #145 of 1000; in original cloth covered very good slipcase; illustrated with hundreds of black and white maps and photographs with some color photographs; in French; 4to; with 355 pages.

Hardcover. Condition: Very Good. Condition: Very Good; Hardcover in dustjacket. Blue cloth. 355 pp. Limited Edition, this is copy 944 of 1000 produced. Condition is Very Good in a Very Good dustjacket. Book has clean covers and pages, sharp corners and a tight, square binding. Spine top mildly bumped. Jacket clean and bright with spine top bumped and fading along spine. Text in French with 2 essays in English. Lacks slipcase. Photos upon request.

Couverture rigide. Condition: Trčs bon. Dust Jacket Condition: Trčs bon. Edition originale. Belgrade 1988 . 1 Volume/1. -- - Reliure éditeur cartonnée pleine toile sous jaquette illustrée. Format in-4°( 32 x 24,5 cm )( 984 gr ). --------- 73 pages. ************** Edition limitée ŕ 500 ex numérotés , celui-ci N° 55 ********************* "" Alcide Le Beau reflčte avec qualité les richesses de la peinture du XXčme sičcle naissant. A ce titre, sans doute tient-il sa place dans l'histoire, mais bien au-dessus se situe l'éclat de son lyrisme personnel, une sorte de réincarnation d'un grand romantisme coulé dans les voies de révolutions picturales. C'est avant tout dans la noblesse et la grandeur de sa spécificité qu'il doit ętre ressuscité, note séduisante et attachante en sa pureté, en son authentique humanité, au concert chatoyant de la peinture'' ********************* ref 600a.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1822 edition. 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. Pages: 49 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. 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: 49.

1. Auflage,. Mit Abbildungen, 355 (2) Seiten, Schönes Exemplar Sprache: Deutsch 4°, hell illustrierter OU mit Rückentitel, blaues O Ln.

Condition: GOOD. chips along edges of paper, thick paper signed by Elena M. De Hellebranth and dated 1956, comes with type written letter adressed to Sir Fleming, includes two newspaper clippings about William Carlos Williams BIOGRAPHY OF THE ARTIST; Bertha de Hellebranth and her sister Elena were born into a cultured upper-class family in Budapest, Bertha in 1899, Elena in 1897. Their father was a lawyer and their mother a student of Franz Liszt's last living pupil. Both sisters showed artistic potential early, beginning to paint at four or five years of age. Their parents encouraged them, and had the means to send them to the best art schools of the time. They studied at the Academy of Fine Art in Budapest, at the Académie Julian and the Académie de la Grande Chaumičre in Paris, and painted portraits of European nobility. As Patricia Fazekas points out, "Growing up in a family of privilege, they seemed to have unusual access to many illustrious people." So we should not be surprised to find among their subjects members of high society, such as Count Andrássy Gyula, the Russian-born Princess Baby Galitzine, and Admiral Horthy Miklós, the Regent. Later on, their subjects included American heiress Gladys Vanderbilt (Countess László Széchenyi), President Theodore Roosevelt's granddaughter Paulina Longworth and former President Dwight D. Eisenhower.Often, the sisters would paint the same subject at the same time, offering the sitter a choice of portraits. Most often, the sitter wanted both renditions.While Elena concentrated on working in oil and watercolor, Bertha used gouache and oil to achieve her effects. Elena gave lectures and workshops, was a writer and also wrote popular and ecclesiastical music, while Bertha also went in for sculpture and handicrafts.From the mid-thirties until World War II, Bertha and Elena divided their time between their home in Budapest and a home on the ocean at Ventnor, NJ. In 1925, they showed their work at the Nemzeti Szalon in Budapest, and in 1926, they had a joint exhibition of their portraits in the US. Both exhibited their work at the Art Institute of Chicago, the Brooklyn Museum of Art, the Pennsylvania Academy of Fine Arts and most major museums and galleries in the US. Bertha also had exhibits at the Metropolitan Museum of Art. Both Bertha and Elena were Fellows of the Royal Society of Art (London), and garnered numerous prizes. Bertha was awarded First Prize by the National Academy of the American Water Color Society one year, and the Grand Prize of the Audubon Society. She was one of the founders of the now defunct World League of Hungarian Artists Abroad (Külföldi Magyar Képzomuvészek Világszövetsége), and received a Gold Medal from the Cleveland Árpád Akadémia in 1963. (Elena also received the Akadémia's gold medal in 1965.) Their work is found in museums and galleries too numerous to mention.The de Hellebranth sisters were devout Catholics, and this is evident in their many portraits of clerics and religious subjects. Bertha's religious sculptures include not only the Patrona Hungariae which was given to St. Emery Church by the Transylvanian Franciscans in 1957, but also several now in the Museum of the American Hungarian Foundation in New Brunswick, NJ, as for example a statue of St. Francis and another of Christ. Elena contributed several folk style panels to the Hungarian Pavilion's display at the 1939 New York World's Fair, while Bertha exhibited a couple of sculptures, one entitled "Sleeping Shepherd".Bertha and Elena became American citizens in the 1940's, but as Elena remarked, "While we are Americans, the Hungarian blood still boils through us." DATE PUBLISHED: 1953 EDITION: