Westerhout Arnold (115 results)

Condition: New.

Condition: New.

Condition: As New. Unread book in perfect condition.

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

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

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

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

Condition: New. In.

Condition: New.

Condition: New. In.

Condition: As New. Unread book in perfect condition.

Condition: New. In.

Condition: New. In.

Paperback. Condition: New. Jenny Plunkett (illustrator). In shrink wrap. Looks like an interesting title!

tapa dura. Condition: Bien. Política (323.311.121(46)(0:7.041.5)), Arte en general. Bellas artes. Deportes (7.041.5) F. Sánchez Cano. Madrid. 1963. 21 cm. 101 h. grab. Encuadernación en tapa dura artesanal. Westerhout, Arnold van 1651-1725. Dibujadas y grabadas por Arnold von Westerhout. Reproducidos en fotograbados por F. Sánchez Cano. España. Retratos . Conserva cubierta original Contiene notas manuscritas del anterior propietario. (=3221808=) LI186.

Paperback. Condition: New. Print on Demand. This book documents the 1723 election of a new Minister General of the Franciscan Order, one of the most important religious orders in the Catholic Church at the time. The election was held in the presence of Pope Innocent XIII and was a significant event for the Order at the time. The book provides details about the election process, the candidates, and the challenges facing the Order at the time. It also includes debates over the Order's inner workings and papal decrees. These first-hand accounts provide historical details about the lives of Catholics during this era. The author traces the election through the lens of contemporary debates about the nature of the papacy, the authority of the religious orders, and the role of the Church in society. The book is a valuable resource for scholars of Church history and those interested in the history of the Franciscan Order. This book is a reproduction of an important historical work, digitally reconstructed using state-of-the-art technology to preserve the original format. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in the book. print-on-demand item.

Condition: New.

Kartoniert / Broschiert. Condition: New.

Condition: New.

Taschenbuch. Condition: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.

Condition: Good. 3 vols in 1, contemporary calf, gilt decorated spine, leather lettering labels, joints cracked, books plates to front paste-down and front endpaper, folio.22 x 33cm.Wormholes in lower right cortner of first 50 pages, mostly small., Santi Bartoli, Pietro and Giovanni Pietro Bellori.Le Pitture Antiche del Sepolcro de Nasonii Nella via Flaminia?.,1 double page and 34 engraved plates, damp-staining to initial leave of text, affecting the engraved plate at corner, Giovanni Battista Bussotti, Rome, 1680; .Menestrier (Claude François) Symbolica Dianae Ephesiae statua. 24 engravings, Rome: Giovanni Giacomo de Rossi, 1688; Writ (Giovanni Michele) Ragguaglio della solenne comparsa. dall'illustrissimo, et eccellentissimo Signor Conte di Castelmaine., engraved frontispiece, one large folding and 14 engraved plates,.*** The third work contains an account of the Earl of Castlemaine's embassy to Rome in 1687, on behalf of James II, who wished to return England to the Catholic Church.Text and plates describe wall-paintings and vaults of the ancient tomb of the Nasonii on the Via Flaminia, which had been unearthed in 1674. The work was reprinted throughout the seventeenth, eighteenth and early nineteenth centuries, and served as a pattern book among such Neoclassical designers as Adam, Wyatt, Soane, Percier and Fontaine, Hope and Nash.The plates show: 1. excavation and the façade of the tomb; 2. the plan of the tomb; 3, 4. overall views of two walls of paintings; 5-20. details of the paintings; 21. overall view of a painted ceiling; 22-35. details of the ceiling paintings. The paintings show Greek mythological subjects, hunts and the seasons. The book also carries decorated initials.Bartoli's drawings of the murals are preserved in the Royal Collection at Windsor Castle. They were used by G. Turnbull for some plates in A curious collection of ancient paintings (1741).OCLC Number / Unique Identifier:702324701;OCLC Number / Unique Identifier:1085650529; OCLC Number / Unique Identifier: 800892296.Provenance: Thomas Longueville, Skene Library, Ampleforth Abbey Library.

Hardcover. Condition: Fine. Scarce publication of plates only. Normally found with biographical text by Niccolo Galeotti, with an alternate subtitle. The 1748 edition was published with 15 portraits, with a new one each edition until the fourth (1758) which had 18 plates. All 18 are present here. Engraved title page dated 1748. All 19 leaves are tipped in to a modern hardcover binding. Discoloration to top edge of title page; plates themselves fine.

Contemporary half calf with marbled boards; spine with five (5) blind raised bands, flanked by gilt tooling; gilt lettered title on Morocco label on two; contemporary pasted and free endpapers; all edges speckled red., Text in Italian; captions in Latin.This work was dedicated by Piranesi to one of his highly esteemed co-workers (during the 1750?s), Robert Adam. Concerning the Rome 1762 edition, Luigi Ficacci states: ?Edition Rome 1762. Engraved title on the title page: The Campus Martius of Ancient Rome, the Work of G. B. Piranesi, Fellow of the Royal Society of Antiquaries, London. The Latin title page bears the title, the date of the edition, and the dedication to Robert Adam. The address is: ?Veneunt apud Auctorem in aedibus Comitis Thomati via Felice prope Templum SS. Trinitatis in Monte Pincio?.The genesis of the work goes back to the second half of the 1750s: its publication is announced as imminent in the first volume of Antichita Romane (1756). The large Plan of Campo Marzio and 6 copperplates (?Ichnographia? or plan of the Campus Martius, ill. 493), executed in collaboration with Robert Adam and dedicated to him, is dated 1757 on the plate. The approbatio is dated 1761. The plate by Vesterhout (plate XXXI, ?) reproduces the technical solution adopted by Carlo and Francesco Fontana for restoration of the Column of Antonius Pius in 1705.?, Size : Folio (542x406mm). , Etched copper engravings with illustrated title in Latin, illustrated title in Italian, ornamental head-piece and engraved decorative copper initial at A1r; the initial opens the text. Tab. I-XLVIII, plus three full page engravings entitled ?Sepulchrum Mariae Honorij Imp. Uxoris ??, ?Labrum aegyptiacum porphyreticum??, and Nonnulla monumenta sepulcralia, quae recensentur??; these 51etchings include double-page plates numbered V-X forming the plan of the Campus Martius and one double page plate # XXXII; two triple or oversized folding plates numbered II and XXXI; a single page numbered XLVIII depicting three copper plates, entitled ?Elevazione de? Teatri?? , ?Elevazione del Pantheon?? and ?Elevazione dell? Anfiteatro?; single pages two [half-page] copper plates each - numbered XII (entitled ?Hypsographia?? and ?Sectio??) and XLVI (entitled ?A Reliquiae?? and ?Orthographia??) respectively; the remaining copper plates are full page in size. Plate XXXI was engraved by Vesterhout* after Fontana.Thick, wide margined paper; many watermarks, pointing this Roman edition to the time frame of 1770?s -1790?s. Examples of watermarks: an unlisted on both free endpapers with an inner fleur de lis design within a circle; #19 (1790?s) at plate 43; #68 (probably 1790?s) at plate 35; #59 (mid 1770?s -1790?s) at plates 31 and 32; #64 (1790?s) also on plate 31; # 12 (late 1780?s -1790?s) at plate 30; #14 (mid 1761) or #16 (1790?s) at plate 29; #59 (mid 1770?s -1790?s) and 64 (1790?s) at insert plate 21 entitled Scenographia Machinae qua Clemente XI. Pont. Max. An. D. MDCCV; #74 (1790?s) on unnumbered plate entitled ?Sepulchrum Mariae Honorij Imp. Uxoris? generally featured as headpiece vignette of the Latin text.; #12 (late 1780?s -1790?s) on unnumbered plate, entitled ?Labrum aegyptiacum porphyreticum??, here as full plate, otherwise a headpiece of the Latin text. *Plate XXXI, depicting the excavation of the Antonine column in 1705, was signed by both, its engraver, Arnold Van Westerhout or Vesterhout, and by its designer and artist, Franciscus Fontana. The second illustrated title or title in Italian reads: 'Il Campo Marzio Dell'Antica Roma'., References : Luigi Ficacci, pp. 394-431; Focillon (1964): 428-479; Hind (1978): 85; Millard iv (2000): 91; RIBA, Early Pr. iii (1999): 2551; Wilton-Ely (1994): plates 559-612. , Ll: Bl., Illustrated title in Latin, A1-H2, a1-c2 (with catalogue and indices); illustrated title in Italian; Tab.I-XLVIII plus three full-leaf unnumbered plates, bl. Plates and text crisp and clean, near fine. Thick, wide margined paper.

Contemporary half calf; double gilt fillets bordering marbled boards; spine with five (5) matching gilt fillets on raised bands, embossed gilt lettered title on two and four; pasted and free endpapers marbled; all edges marbled., Text in Latin and Italian.This work was dedicated by Piranesi to one of his highly esteemed co-workers (during the 1750?s), Robert Adam. Concerning this Rome, 1762 edition, Luigi Ficacci states: ?Edition Rome 1762. Engraved title on the title page: The Campus Martius of Ancient Rome, the Work of G. B. Piranesi, Fellow of the Royal Society of Antiquaries, London. The Latin title page bears the title, the date of the edition, and the dedication to Robert Adam. The address is: ?Veneunt apud Auctorem in aedibus Comitis Thomati via Felice prope Templum SS. Trinitatis in Monte Pincio?.The volume is composed of 2 title pages (Latin and Italian, whose sequence varies according to the copy), 2 ornamented letters, 4 vignettes, 42 plates by Piranesi (5 of these plates are composed of several copperplates), and 1 engraved by Vesterhout*, 68 pages of text in Italian and Latin, preceded by 6 pages of dedication to Robert Adam and followed by 29 pages of indices. ?The genesis of the work goes back to the second half of the 1750s: its publication is announced as imminent in the first volume of Antichita Romane (1756). The large Plan of Campo Marzio and 6 copperplates (?Ichnographia? or plan of the Campus Martius, ill. 493), executed in collaboration with Robert Adam and dedicated to him, is dated 1757 on the plate. The approbatio is dated 1761. The plate by Vesterhout (plate XXXI, ?) reproduces the technical solution adopted by Carlo and Francesco Fontana for restoration of the Column of Antonius Pius in 1705.?*Plate XXXI, depicting the excavation of the Antonine column in 1705, was signed by both, its engraver, Arnold Van Westerhout or Vesterhout, and by its designer and artist, Franciscus Fontana. The second illustrated title or title in Italian reads: 'Il Campo Marzio Dell'Antica Roma'., Size : Folio (542 x 406mm)., Copper engravings with illustrated title in Latin, illustrated title in Italian, two half-page head-piece vignettes opening dedication at a1v-2r; two engraved decorative copper initials opening the text at A1v and A2r; two large end-piece vignettes at R2v, and R3r; moreover, Tab. I-XLVIII with fifty-two (52) copper engraved plates; these include: a double-page plate numbered XXXII, two triple or oversized folding plates numbered II and XXXI; a larger oversized engraving (1500x1500mm) encompassing plates V-X forming the plan of the Campus Martius; a single page numbered XLVIII, depicting three copper plates, entitled ?Elevazione de? Teatri?? , ?Elevazione del Pantheon?? and ?Elevazione dell? Anfiteatro?; single pages two [half-page] copper plates each - numbered XII (entitled ?Hypsographia?? and ?Sectio??) and XLVI (entitled ?A Reliquiae?? and ?Orthographia??) respectively; the remaining copper plates full or single page sized. , Upper marginal corner of upper pasted endpaper with sticker reading ?C.E.Rappaport // Libri Rari // Roma?- , References : Luigi Ficacci, pp. 394-431; Focillon (1964): 428-479; Hind (1978): 85; Millard iv (2000): 91; RIBA, Early Pr. iii (1999): 2551; Wilton-Ely (1994): 559-612. , Ll: Bl. (2), Illustrated title in Latin, illustrated title in Italian, a1-b2 (with dedication), A1-Q2, R1-3 (with approbation and explanatory texts); a1-c2 (with Index) ; *1-***2, ****1-3 (with catalogues); [illustrations: Tab.I-XLVIII]; bl. (2). Fine thick laid 18th century Italian paper with wide margined paper watermarked engravings; spine and corners worn ? A handsome and attractive example, plates are clean and crisp.

Hardcover. Condition: Very Good. First edition. Volume 2 only (of 2). Folio. pp. [18] 1-178 [179-194]. With an engraved frontispiece plate by Arnold van Westerhout, and 56 other engraved plates, several of which are folded; and 2 folded letterpress tables at the back. Bound in parchment, spine label stamped in gold, edges mottled red. With two small contemporary ink ownership stamps and one tiny ownership name in ink on the tile page. Boards are a bit bowed, lacking the front free endpaper, else near fine. Giovanni Ciampini's pioneering work illustrates the art and architecture of early Christian churches and monuments in Rome, with particular attention given to their mosaics: Volume 2 depicts the mosaics and paintings of the buildings as they appeared in the seventeenth century. Superbly engraved, it includes several unique views of Christian monuments in Rome no longer extant or that have been profoundly altered. All 57 engraved plates are bright and in fine condition.

Bruxelles, 1976. 194 pp. 38 plates. Softcover. - Sl. worn. (Académie Royale de Belgique, Mémoires de la Classe des Beaux-Arts, Collection in quarto ; Sér. 2, t. 14, fasc. 2).

Condition: Hervorragend. Zustand: Hervorragend | Sprache: Latein | Produktart: Bücher | Keine Beschreibung verfügbar.

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Hardcover. Condition: Poor. First Edition Thus. Title Page And 31 Portrait Plates13 1/4" X 8 7/8", Of Cardinals And Two Of The Pope. Antique Worn Marbled Boards, Covers Detached But Present, Spine Perished. Defective- Lacking Half Of Pages Which Were Removed By A Decorator- "Breaker", But The Remaining 33 Portrait Plates And Title Are Fine. This Title First Published 1676, But As The Portrait Plates For The Pope Indicate A Date Of 1700, This Example Published Circa 1700. Very Large Engraved Bookplate Of Thomas Anson Showing His Arms, "Nil Desperandem", And Two Putti. Per Wikipedia, Thomas Anson, Frs (C. 1695 - 1773) Was A British Member Of Parliament, Traveler And Amateur Architect From The Anson Family. Anson Was The Son Of William Anson (1656-1720) And Isabella Carrier, Sister-In-Law To Thomas Parker, 1St Earl Of Macclesfield. The Family Estate Was Shugborough Hall In Staffordshire. Admiral George Anson, 1St Baron Anson Was His Younger Brother And Along With Their Cousin, George Parker, 2Nd Earl Of Macclesfield, They Were Taught Mathematics And Navigation By Isaac Newton's Friend, The Mathematician William Jones, Who Was Later To Propose Anson's Membership For The Royal Society In 1730. Anson Went Up To St John's College, Oxford, And Later Studied Law At The Inner Temple. Upon His Father's Death, Anson Abandoned Law And Began The First Of Many Travels To The Continent, As Was Then The Fashion For Young Men Of Fortune And Taste. In 1732 Anson And His Friend The Earl Of Sandwich Formed A Riotous Dining-Club Called The Society Of The Dilettanti, Which Also Had The More Serious Purpose Of Encouraging Study Of Greek Architecture. In 1740 Thomas Briefly Joined His Brother George On The Centurion, As He And His Crew Began Their Circumnavigation Of The Globe. Anson Left Them In Order To Travel To Egypt. This Qualified Him For The Egyptian Society And The Divan Society, The Latter Being A Wild Drinking-Club Of Which Lord Dashwood And Lady Mary Wortley Montagu Were Avid Members. He Was Elected To The House Of Commons For Lichfield In 1747, A Seat He Held Until 1770. In 1748 Anson Was Sent To Versailles By Lord Sandwich With Secret Correspondence For The Duc De Choiseul And Madame De Pompadour. In Paris He Bought Crayons For His Friend The Duchess Of Bedford, And His Sister-In-Law, Lady Anson, Sent Him A Long List Of Presents She Desired. In 1762 He Succeeded To The Vast Fortune Of Spanish Treasure Amassed By His Admiral Brother. This Enabled Him To Further Indulge His Passion For Architecture At Shugborough. Anson And Another Member Of The Society Of The Diletantti Rebuilt The House In The Greek Revival Style That The Pair Were Championing In England. Anson Filled Shugborough With Paintings, Books And Objets D'art, And Had Vasalli Paint Allegories Upon The Ceilings. The Park Was Strewn With Temples And Follies, Including The Mysterious Shepherd's Monument, The Pagoda, Pigeon House And The Tower Of The Winds. The Park Has Been Described By Some As A Metaphor For Lord Anson's Circumnavigation Of The Globe. Others Contend That It Engages Aspects Of Many Cultures, Both As A Tribute To Admiral Anson's Voyage, And As A Representation Of Thomas Anson's Interest In Syncretic Philosophies. Anson Died Unmarried In March 1773. The Anson Estates Were Passed On To His Nephew, George Adams, Who Assumed The Surname Of Anson And Was Ancestor Of The Earls Of Lichfield.

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