Marrow Jh (26 results)

Condition: Fine. Used book that is in almost brand-new condition. May contain a remainder mark. Better World Books: Buy Books. Do Good.

paperback. Condition: New. 1st.

Paperback. Condition: new. Paperback. Hand-painted books produced in the Low Countries during the late Middle Ages are dazzingly inventive, widely admired both in their own time and today. The makers of Flemish illuminated manuscripts experimented, sometimes flamboyantly, with all aspects of their design, manipulating elements of their format, layout, script, decoration and illustration in radically new and challenging ways. In this book, James H. Marrow discusses prominent features of many of the most exuberant illuminated manuscripts created by leading Flemish illuminators of the 15th and the 16th centuries, considering both the playful ways in which the makers of these books reconfigured their design and the ways they exploited these innovations to define and convey the meaning of their contents more effectively. Marrow considers how the designers of these manuscripts broke down the barriers between the different components of the book; how the shapes of some manuscripts became a kind of image; how script sometimes became decoration or one of several illusionistically treated elements or fields on the page; and how decoration and illustration were intermixed in diverse, witty, and provocative fashions. In this final stage in the evolution of the medieval book, leading Flemish illuminators fundamentally changed the structural dynamics of the page, enlarging its fields of visual and pictorial interest and exploiting novel juxtapositions of subject matter and scale, of viewpoint and different kinds of illusionism, to guide viewers beyond the here-and-now, to evoke multiple and alternative levels of truth, and to effect profound transformations of understanding. This is an incisive study of the course of these developments in the Low Countries and of some of the important ways in which they engaged issues central to the function of the visual arts. Discusses prominent features of many illuminated manuscripts created by leading Flemish illuminator of the 15th and 16th centuries, considering the playful ways in which the makers of these books reconfigured this design, and the ways they exploited these innovations to define and convey the meaning of their contents more effectively. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condition: New. 2005. Paperback. . . . . .

Condition: New. 2005. Paperback. . . . . . Books ship from the US and Ireland.

Condition: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1900grams, ISBN:0807612278.…

hardcover. Condition: Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee.

Illustrated printed wrappers, 4to, 28 cm, xiv, 281, [1] pp, ills. 89 entries. The exhibition was organized and the catalogue edited by James H. Marrow & Alan Shestack. Contents include: three essays on Baldung and his art: An Introduction to Hans Baldung Grien, by Alan Sheitackl Baldung and the Female Nude, by Charles W. Talbot; Baldung and the Reformation, by Linda C. Halts. From the Editors' Comments: "This exhibition introduces to the American audience the work of Hans Baldung Grien, a German artist active during the first half of the sixteenth century, who is noted for his unprecedented interpretations of traditional religious subjects and his intriguing explorations of topics which sometimes involve imagery of a demonic or erotic nature. His work reflects the changing subject matter and orientation of art in a turbulent period of European history - one which, at least in Germany, nourished a generation of virtuoso draftsmen-painters. Since it is impractical to arrange transatlantic loans of a significant body of sixteenth-century panel paintings, the exhibition is focused upon Baldung's graphic works, particularly his drawings and single-leaf prints. Although Baldung also designed hundreds of woodcut illustrations for printed books, most of these were executed by lesser craftsmen and were subject neither to the care nor to the same degree of the artist's control over cutting and printing as were his single-leaf prints. The latter works, like the drawings, are more accurate reflections of his artistic intentions and therefore constitute the most reliable basis for an evaluation of his graphic style. Most of the genres of Baldung's art are represented in his graphic works and, indeed, he depicted in his prints and drawings many subjects rarely illustrated in his panels. Baldung was, moreover, an inventive and powerful draftsman, whose graphic style has not been studied extensively for many decades. One of the primary aims of the exhibition has thus been to consider this aspect of Baldung's art. . The text of the catalogue has been conceived with a twofold purpose. The essays are designed to introduce readers and visitors to the exhibition, and to explore selected aspects of Baldung's art. The entries are designed to comment extensively upon the exhibited objects, considering such subjects as technique, style, sources, iconography and expression." Near Very Good.…

Hardcover. Cloth, dw.

Condition: New. KlappentextDiscusses prominent features of many illuminated manuscripts created by leading Flemish illuminator of the 15th and 16th centuries, considering the playful ways in which the makers of these books reconfigured this design, and .

Buch. Condition: Neu. Neuware - Discusses prominent features of many illuminated manuscripts created by leading Flemish illuminator of the 15th and 16th centuries, considering the playful ways in which the makers of these books reconfigured this design, and the ways they exploited these innovations to define and convey the meaning of their contents more effectively.…

Paperback. Condition: new. Paperback. Hand-painted books produced in the Low Countries during the late Middle Ages are dazzingly inventive, widely admired both in their own time and today. The makers of Flemish illuminated manuscripts experimented, sometimes flamboyantly, with all aspects of their design, manipulating elements of their format, layout, script, decoration and illustration in radically new and challenging ways. In this book, James H. Marrow discusses prominent features of many of the most exuberant illuminated manuscripts created by leading Flemish illuminators of the 15th and the 16th centuries, considering both the playful ways in which the makers of these books reconfigured their design and the ways they exploited these innovations to define and convey the meaning of their contents more effectively. Marrow considers how the designers of these manuscripts broke down the barriers between the different components of the book; how the shapes of some manuscripts became a kind of image; how script sometimes became decoration or one of several illusionistically treated elements or fields on the page; and how decoration and illustration were intermixed in diverse, witty, and provocative fashions. In this final stage in the evolution of the medieval book, leading Flemish illuminators fundamentally changed the structural dynamics of the page, enlarging its fields of visual and pictorial interest and exploiting novel juxtapositions of subject matter and scale, of viewpoint and different kinds of illusionism, to guide viewers beyond the here-and-now, to evoke multiple and alternative levels of truth, and to effect profound transformations of understanding. This is an incisive study of the course of these developments in the Low Countries and of some of the important ways in which they engaged issues central to the function of the visual arts. Discusses prominent features of many illuminated manuscripts created by leading Flemish illuminator of the 15th and 16th centuries, considering the playful ways in which the makers of these books reconfigured this design, and the ways they exploited these innovations to define and convey the meaning of their contents more effectively. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Patterned cloth, gilt cover-title, small 8vo, 21 cm, xi, [1], 255, [1] pp, 68 colour plates, 49 black-and-white ills, genealogical table. From the introduction: "In 1985, two years after it began collecting medieval illuminated manuscripts, the J. Paul Getty Museum acquired a section of the Hours of Simon de Varie. Produced in France shortly after the middle of the fifteenth century and illustrated by three artistically very different painters - among them Jean Fouquet, one of the most accomplished and inventive artists ever to practice the craft of manuscript illumination - the codex had been dismembered in the seventeenth century and suffered post-medieval alterations that disguised many of its original features. Two disparate sections had been acquired in the nineteenth century by the Koninklijke Bibliotheek in The Hague. The long-lost volume purchased by the Getty Museum represented the missing third section. With its discovery, we were able to reconstruct, for the first time, much of the manuscript's history and some of the circumstances of its production, as well as appreciate its original extent and form." Contents: Foreword, by John Walsh and Wim van Drimmelen; Preface and Acknowledgments, by Thomas Kren; The Hours of Simon de Varie, by James H. Marrow; Simon de Varie, Patron of the Hours, by François Avril; Plates; Appendix I: Technical Description of the Hours of Simon de Varie, by James H. Marrow; Appendix II: The History of the Two Volumes at The Hague, by Anne S. Korteweg; Appendix III: Genealogy of the House of Varie, by Richard Varey; Selected Bibliography. ; Fine in Near Fine slipcase with mounted cover illustration.…

Cloth, folio, 30 cm, 192 pp,17 colour plates, 118 black-and-white ills. From the blurb - "Since 1925 Friedrich Winkler's study 'Die Flämische Buchmalerei des XV. Und XVI. Jahrhunderts' has been the standard work on Flemish miniature painting in the fifteenth and sixteenth centuries. More than sixty years after Winkler, a new up to date survey of the evolution of manuscript illumination is presented here. In this study Dr. Georges Dogaer summarizes the new insights that have emerged in this field and discusses recently discovered archival data. The author starts with a group of anonymous artists who were active around 1400, discusses in depth the splendid and refined manuscripts that were produced under the patronage of the Burgundian dukes and ends with the miniaturists of the so-called Ghent-Bruges School, which reached its final peak with the famous Bruges illuminator Simon Bening. Each of the forty chapters is devoted to one miniaturist or group of miniaturists. After a short biographical introduction the author presents a comprehensive description and evaluation of the artist's work. All significant aspects of style and technique are considered in detail. Each chapter includes a bibliography and a list of manuscripts. More than a hundred illustrations and 17 colour plates give a good impression of the skill of the artists under discussion." Very Good in chipped and slightly edgeworn dustwrapper.…

Tapa dura. Condition: New. MARROW, J. H. / R. A. LINENTHAL / W. NOEL, EDS.: THE MEDIEVAL BOOK. GLOSSES FROM FRIENDS & COLLEAGUES OF CHRISTOPHER DE HAMEL [HARDBACK] . 'T GOY - HOUTEN (UTRECHT), 2010, xxxi 468 p. color laminas, 2200 gr. Encuadernacion original. Nuevo. (VA-1-3) 2200 gr. Libro.

George Braziller, 1990. Softcover. 318 pp. Softcover Illustrations in colour and b/w.

Hardcover. Condition: New. New .Ships From Multiple Locations. book.

Exhib. cat. New York, Pierpont Morgan Gallery / Utrecht , Catharijneconvent, 1989-1990. 318 pp., 164 ills. in b/w and 123 in col., 4to, softcover. Also available in cloth (Euro 35,-).

Stuttgart, Belser Verlag, 1990. 320 pp., sumpt. ill. in col. and b/w, 4to, orig. cloth/d-jacket.

Small folio. Cloth, gilt. With dust-jacket and slipcase. xxii,370 pp., with 16 plates in colour and 104 pp. with 144 illustrations.- " Ars Neerlandica, I " As good as new. See picture. Contents: Christ's tormentors; The suffering Christ; Recurring torments; The secret passion (the arrest of Christ, Christ's night of captivity; Christ and the judges, the mocking of Christ, the flagellation, the crowning with thorns, the bearing of the cross, the crucifixion); The spikeblock. Literary evidence is drawn from Middle Netherlandish sources; Pictorial evidence comes from illuminated manuscripts, sculpture, drawings, prints and stained glass. 2740g. …

Cloth, large 8vo, gilt device on front board, top edge gilt, 32 cm, 608 pp, 46 colour plates (some mounted), numerous black and white illustrations. A splendid catalogue of a superb collection, but more than this since the catalogue was intended also to explainand illustrate Delaissé's method of examining and interpreting manuscripts. The earliest manuscripts in the collection "are a thirteenth century Italian Bible, which is decorated but not illustrated, and a Liturgical Psalter, which was probaby written between 1326 and 1328 and which was decorated and illustrated in the workshop of Jean Pucelle. The remaining manuscripts are all fifteenth or sixteenth century, and, with the exception of two Italian Books of Hours, they are French or Netherlandish. The quality of the collection is rather uneven. The outstanding manuscripts are two Books of Hours illuminated respectively by Jean Bourdichon and by Simon Bening."-from a contemporary review. From the introduction: "The material description of each manuscript in this catalogue .describes in succession: I. The material and its size. II. The construction of the book in quires or gatherings. III. The preparation of the bifolio, by pricking and ruling. IV. The text, of which contents and script are examined separately, V. The decorations, in the order of their importance in relation to the text: initials, paragraph signs, line endings, and borders. VI. The illustration of the text with miniatures, of which the subjects and techniques are distinguished. VII. The binding. VIII. Additions to the book IX. Provenance. .The analytical description is followed by a commentary that attempts to interpret the material facts discovered, to introduce the reader to the life of the books and to understand,if possible, their social significance.Clearly the value of a catalogue of this kind must depend to a great extent on the illustrations. These have been made as numerous as possible and most of the manuscripts are represented by reproductions in colour. Pages of text are illustrated as well as those with miniatures, and one calendar page from each Book of Hours is reproduced." The manuscripts described are: 1. Bible (Italy, mid-thirteenth century); 2. Liturgical Psalter (Paris, workshop of Jean Pucelle, 1326-1328?); 3. Thirteen Miniatures from a 'Bible historiale' (Paris, f.1405); 4. Book of Hours of Guillebert de Lannoy (Southern Low Countries?, c.1430); 5. Eleven Miniatures from a Book of Hours (Southern Low Countries, c.1430); 6. Book of Hours (Amiens, c. 1430-1440); 7. Book of Hours (Eastern France?, c.1460); 8. Christine de Pisan, Epitre d'Othéa (Lille, publishing house of Jean Miélot, f.1455), illustrated for Philip of Cleves (Ghent?, c.1485); 9. Book of Hours for a Catalan, with additions (Bruges, c.1460 and c.1475); 10. Book of Hours (Northern France, c.1470); 11. Jean de Courcy, Chronicle called 'La Bouquechardière' (Rouen, c.1465); 12. Book of Hours (Rouen, c.1470); 13. Book of Hours (Paris?, late-fifteenth century); 14. Book of Hours (Rouen, c.1490); 15. Life and Fables of Aesop; Fables of Avianus (Ghent?, c.1490); 16. Book of Hours (Florence, c.1490); 17. Statutes and Armorial of the Order of the Golden Fleece (Flanders, 1481-1490; additions up to 1556); 18. Book of Hours (Naples, c.1497); 19. Missal (Paris, c.1500?); 20. Book of Hours (Tours, workshop of Jean Bourdichon, c.1505); 21. Book of Hours (Paris, i.1485-1500); 22. André Delavigne, Coronation of Anne of Brittany (Paris, c.1505); 23. Book of Hours (Northern France, early-sixteenth century); 24. Book of Hours of Jean Regnart (Paris), Nicholas Forget, (c.1510); 25. Book of Hours (Rouen, c.1510); 26. Book of Hours (Bruges, workshop of Simon Bening, 1540). Minor scuffs and marks to boards, otherwise Very Good in used dustwrapper.…

Cloth, large 8vo, gilt device on front board, top edge gilt, 32 cm, 608 pp, 46 colour plates (some mounted), numerous black and white illustrations. A splendid catalogue of a superb collection, but more than this since the catalogue was intended also to explainand illustrate Delaissé's method of examining and interpreting manuscripts. The earliest manuscripts in the collection "are a thirteenth century Italian Bible, which is decorated but not illustrated, and a Liturgical Psalter, which was probaby written between 1326 and 1328 and which was decorated and illustrated in the workshop of Jean Pucelle. The remaining manuscripts are all fifteenth or sixteenth century, and, with the exception of two Italian Books of Hours, they are French or Netherlandish. The quality of the collection is rather uneven. The outstanding manuscripts are two Books of Hours illuminated respectively by Jean Bourdichon and by Simon Bening."-from a contemporary review. From the introduction: "The material description of each manuscript in this catalogue .describes in succession: I. The material and its size. II. The construction of the book in quires or gatherings. III. The preparation of the bifolio, by pricking and ruling. IV. The text, of which contents and script are examined separately, V. The decorations, in the order of their importance in relation to the text: initials, paragraph signs, line endings, and borders. VI. The illustration of the text with miniatures, of which the subjects and techniques are distinguished. VII. The binding. VIII. Additions to the book IX. Provenance. .The analytical description is followed by a commentary that attempts to interpret the material facts discovered, to introduce the reader to the life of the books and to understand,if possible, their social significance.Clearly the value of a catalogue of this kind must depend to a great extent on the illustrations. These have been made as numerous as possible and most of the manuscripts are represented by reproductions in colour. Pages of text are illustrated as well as those with miniatures, and one calendar page from each Book of Hours is reproduced." The manuscripts described are: 1. Bible (Italy, mid-thirteenth century); 2. Liturgical Psalter (Paris, workshop of Jean Pucelle, 1326-1328?); 3. Thirteen Miniatures from a 'Bible historiale' (Paris, f.1405); 4. Book of Hours of Guillebert de Lannoy (Southern Low Countries?, c.1430); 5. Eleven Miniatures from a Book of Hours (Southern Low Countries, c.1430); 6. Book of Hours (Amiens, c. 1430-1440); 7. Book of Hours (Eastern France?, c.1460); 8. Christine de Pisan, Epitre d'Othéa (Lille, publishing house of Jean Miélot, f.1455), illustrated for Philip of Cleves (Ghent?, c.1485); 9. Book of Hours for a Catalan, with additions (Bruges, c.1460 and c.1475); 10. Book of Hours (Northern France, c.1470); 11. Jean de Courcy, Chronicle called 'La Bouquechardière' (Rouen, c.1465); 12. Book of Hours (Rouen, c.1470); 13. Book of Hours (Paris?, late-fifteenth century); 14. Book of Hours (Rouen, c.1490); 15. Life and Fables of Aesop; Fables of Avianus (Ghent?, c.1490); 16. Book of Hours (Florence, c.1490); 17. Statutes and Armorial of the Order of the Golden Fleece (Flanders, 1481-1490; additions up to 1556); 18. Book of Hours (Naples, c.1497); 19. Missal (Paris, c.1500?); 20. Book of Hours (Tours, workshop of Jean Bourdichon, c.1505); 21. Book of Hours (Paris, i.1485-1500); 22. André Delavigne, Coronation of Anne of Brittany (Paris, c.1505); 23. Book of Hours (Northern France, early-sixteenth century); 24. Book of Hours of Jean Regnart (Paris), Nicholas Forget, (c.1510); 25. Book of Hours (Rouen, c.1510); 26. Book of Hours (Bruges, workshop of Simon Bening, 1540). Near Fine in Near Fine dustwrapper, without the slipcase.…

With: The Dutch text by Marrow of reader in the museum in Utrecht, 16 pag.

Doornspijk1979. 129,99 pp. or.cloth.

With: The reader ( in Dutch ) for the exhibition in Utrecht, 16 pag.

't Goy, Hes & de Graaf, 2010. Large 4to. xxxi,467 pp. Cloth.