Description:
E-122: Electa. Very Good in Very Good dust jacket. 1999. First Edition; First Printing. Hardcover. Hardcover. 4to. Electa. 1999. 281 pgs. Illustrated with Black and White Plates. First Edition/First Printing. Text in Italian. DJ has light shelf-wear present to the DJ extremities. No ownership marks present. Text is clean and free of marks, binding tight and solid, boards clean with no wear present. Antonio Canova (1 November 1757 13 October 1822) was an Italian Neoclassical sculptor, famous for his marble sculptures. Often regarded as the greatest of the Neoclassical artists, his artwork was inspired by the Baroque and the classical revival, but avoided the melodramatics of the former, and the cold artificiality of the latter. E-122; 4to 11" - 13" tall; 281 pages .
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Antonio Canova La Statuaria
by Stefani, Ottorino
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- first
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- Used - Very Good in Very Good dust jacket
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- First Edition; First Printing
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- Hardcover
- ISBN 10 / ISBN 13
- 9788843568383 / 8843568388
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- 1
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Charlottesville, Virginia, United States
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La Decouverte De La Domus Aurea Et La Formation Des Grotesques a La Renaissance
by Dacos, Nicole
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- very good
- Hardcover
- first
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- Used - Very Good
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- First Edition; First Printing
- Binding
- Hardcover
- ISBN 10 / ISBN 13
- 9780854810000 / 0854810005
- Quantity Available
- 1
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Charlottesville, Virginia, United States
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E-071: The Warburg Institute / E. J. Brill. Very Good. 1969. First Edition; First Printing. Hardcover. Hardcover. 4to. The Warburg Institute / E. J. Brill. 1969. 203 pgs. Illustrated with 114 Black and White Plates. First Edition/First Printing. Bound in grey buckram cloth boards. Boards have shelf-wear present to the extremities (soil present to the board edges). No ownership marks present. Text is clean and free of marks. Binding tight and solid. That the discovery of the vault decorations of Nero's Domus Aurea was a major catalyst in the development of Renaissance wall and ceiling painting has been a commonplace since the time of Vasari. Yet until the publication of Mme. Dacos's comprehensive volume, anticipted by her articles of the last decade, we had no very precise notion of what was known of the Neronian frescoes or when and how they were influential. Previous attempts to investigate the subject have been archaeological in emphasis' or fragmentary. The Domus Aurea…
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