Lastman (40 results)

Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Condition: good. USED book in GOOD condition. Great binding, pages and cover show normal signs of wear from use.

Hardcover. Condition: Very Good. Sealed floppy disk. Minimal use if any. About new with sharp corners.

Paperback. Condition: New.

hardcover. Condition: Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority!

Condition: Good. Good Condition. Five star seller - Buy with confidence!

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. First Edition; First Printing. A Good Read ships from Toronto and Niagara Falls, NY - customers outside of North America please allow two to three weeks for delivery. Author's gift inscription in ink on ffep. Slight bruising to bottom corners of a few interior pages. ; 9.02 X 5.98 X 0.81 inches; 344 pages; Signed by Author.

Softback. Condition: Very Good+. No Jacket. First Edition. This 323 pp. book is an environmental novel. Genuinely inscribed and signed by the author on the title page. Photos upon request. Inscribed by Author(s).

PF. Condition: New.

Condition: New. In.

Hardcover. Condition: VG. No Jacket. used hardcover copy in illustrated boards, no jacket, as issued. light shelfwear, corners perhaps slightly bumped. pages and binding are clean, straight and tight. there are no marks to the text or other serious flaws.

Softbound. Condition: Good. 16 mo, paper covers, 55 pp. The last poem, two pages in length, is in Russian. Text is in Yiddish. Collected and edited after his death by his wife F. Lastman.

Hardcover/Hardback. Condition: As New. Pieter Lastman. In Rembrandts Schatten? Izdatelstvo Nr. Hirmer. Yazyk izdaniya Nr. nemetskij. Strana izdaniya Nr. Germaniya. Tverdyj izdatelskij pereplet, illyustrirovannoe albomnoe izdanie bolshogo formata.In Rembrandts Schatten? widmet sich dem niederlaendischen Maler Pieter Lastman 1583Nr.1633, einem der wichtigsten Historienmaler seiner Zeit und Lehrer Rembrandts. Der Band beleuchtet Lastmans Leben, sein kuenstlerisches Umfeld sowie seinen nachhaltigen Einfluss auf die Entwicklung der niederlaendischen Malerei des Goldenen Zeitalters. Anhand ausgewaehlter Gemaelde, Zeichnungen und detaillierter kunsthistorischer Analysen wird gezeigt, wie Lastmans dramatische Bildkompositionen, biblische und mythologische Themen sowie seine Erzaehlkunst den jungen Rembrandt praegten. Das Buch entstand im Zusammenhang mit der Hamburger Kunsthalle und ordnet Lastman neu im kunsthistorischen Kontext ein.Perevod na russkij yazyk: Piter Lastman. V teni Rembrandta? Nr. illyustrirovannoe iskusstvovedcheskoe izdanie, posvyashchennoe odnomu iz klyuchevykh masterov niderlandskoj zhivopisi XVII veka i uchitelyu Rembrandta. Kniga issleduet tvorchestvo Lastmana, ego novatorskie kompozitsionnye resheniya i znachenie dlya formirovaniya khudozhestvennogo yazyka Rembrandta i ego epokhi. Albom sochetaet reproduktsii proizvedenij s razvernutymi nauchnymi kommentariyami.

Paperback. Condition: New.

28,5 x 23,5 cm. 152 Seiten mit zahlreichen zum Teil farbigen Abbildungen. Illustrierter Pappband. - Sehr guter Zustand.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

134 pp., 2 derniers feuillets restaurés In-8 - cart. ivoire mod., couv. déf. renforcée cons.

27 x 22 cm. 278 Seiten und 44 Abbildungen auf 12 Tafeln. Orig.-Leinenband. - Enthält das beschreibende Verzeichnis der authentischen u. zugeschriebenen Werke Lastmanns, der der Lehrer Rembrandts war, und zu den wenigen schon zu Lebzeiten hochberühmten Malern Hollands gehörte.

Condition: Very good.

Leipzig, Klinkhardt und Biermann, 1911. [IV],278 pp. 44 b./w. ills on 12 plts. Re-bound in modern brown cloth, gilt lettered on spine, orig. front cover mounted on front boards.

hardcover. Condition: Sehr gut. Gebraucht - Sehr gut SG - Ungelesenes Mängelexemplar, gestempelt, mit leichten Lagerspuren - Eine der interessantesten Verbindungen zwischen Lehrer und Schüler im Goldenen Zeitalter der niederländischen Malerei ist jene zwischen Pieter Lastman und Rembrandt. Doch steht der Amsterdamer Historienmaler stets im Schatten seines berühmten Schülers. Dabei war Lastman seinerzeit hoch angesehen und wurde 1618 in einem ğLob auf die Stadt AmsterdamĞ gar als ihr bedeutendster Maler gepriesen. Hochgeschätzt wurde der Künstler, da er aus der Grafik bekannte Themen erstmals ins Gemäldeformat umsetzte und den Gestalten einen eigenen Charakter verlieh. Biblische Frauengestalten erweckte er in seinen Gemälden zu neuem Leben und präsentierte zahlreiche mythologische Motive vor weiträumigen Landschaftshintergründen. Rembrandt erkannte Lastmans Bedeutung für dieses Genre und verlieh dessen Vorbild in seinen eigenen Arbeiten neue Brisanz. Der vorliegende Band stellt erstmals seit 1991 auf der Basis neuerer Forschungen Lastmans Werke mit druckgraphischen Arbeiten Rembrandts aus dem reichen Bestand der Hamburger Kunsthalle gegenüber.

Leipzig, Klinkhardt und Biermann, 1911. [IV],278 pp. 44 b./w. ills on 12 plts. Orig. hardcover (brown lettered beige cloth). Large 8vo.

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

Pieter Lastman (illustrator). This print shows a view on a biblical scene of an old man (Judah) and a woman (Tamar) sitting under a tree. Judah holds one arm around her and graps with the other hand to her breast. Mirror image of the original print of Pieter Lastman.Made by an anonymous engraver after Pieter Lastman .Medium: Engraving / etching on hand laid (verge) paper.Sheet size: 17.5 x 21.3 cm (6.89 x 8.39 inch). Image size: 17.5 x 21.3 cm. (6.89 x 8.39 inch).BIBLE-JUDAH-TAMAR-MAN TOUCHING BREAST-OLD MAN-WOMAN | RBOS-A10-14BACKGROUND INFORMATIONSource: unknown, to be determined.Biography artist: Pieter Lastman (Dutch, Amsterdam 15831633 Amsterdam). Condition: good, given age. Horizontal folds. Remains of glue in corners on reverse. Inkspots on reverse. No margin. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Très belle et rare eau-forte dans le goût de Rembrandt, malheureusement coupé en haut supprimant ainsi la marque du graveur. Très beau tirage.Très rare. 17,5 x 17,8 cm.

Copper engraving by Nicolus Petri Lastman. Very good condition apart from several skillfully repaired small losses and tears in the margins. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon.and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats.As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

Copper engraving by Nicolas Petri Lastman. Very good condition apart from some mild creasing and a small orange spot in the lower right side of the image near the plate number. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon.and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats.As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.

Copper engraving by Nicolas Petri Lastman. Very good condition apart from a few skillfully repaired losses in the margins and several tears in the top margin. A fine print from the most sumptuous book on fencing ever produced, which combines a strong design sense with beauty and historical importance, executed by one of the greatest engravers of the day. The image illustrates Thibault's theories of successful fencing using movement and mathematical principles. Thibault's work was produced during a period when the Italian rapier (or epee) held sway. "The Italians discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon.and simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks [used in earlier disciplines] were abandoned, the lunge was discovered, and fencing became established as an art" (Encyclopaedia Britannica). The present image marks the zenith of the use of the epee in Europe. "In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentleman's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats.As the long trailing rapier was unsuited to this form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian had done earlier" (op. cit.). Cf. Vigeant p. 125; cf. Willems 302.