Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)
Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)
Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)
Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)
Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)
Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)
Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)
Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)
Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)
Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)
Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)
Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)

Michel, Emile. Rubens: His Life, his Work, and his Time (2 volume set)

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Michel, Emile. Rubens: His Life, his Work, and his Time; Translated by Elizabeth Lee. London/NY: William Heinemann/Charles Scribner's Sons, 1899. 1st Edition.

Two volumes in olive cloth, decorated in blind & gilt, 9 1/2 x 12 1/2 inches, edges to binding rubbed. Forty colored plates, forty photogravures, and 272 text illustrations. xx., 292, xii., 323 clean and unmarked pp. Ex college library with bookplates marked "withdrawn," lending slip on rfeps, small computer label on rear paste downs. Spines are clean and never had library labels. Engraved plates unmarked. International shipping will require extra postage. Good. Hardcover.  [4448] 

"Considering now how this book does its appointed work it must be noted in the first place, and especially, that there are eighty plates, each made as large as has been thought expedient and without much restraint caused by the size of the book, for the page is nearly nine inches in clear width by more than a foot in height. These plates are half of them photogravures, and the other half what are too loosely described as 'colored plates,' the truth being very commonly that they are printed with a tint in attempting the fac similes of the original drawing, or the like. Actual coloring is used in certain cases...There are also nearly 300 half-tone prints scattered through the text...As for the text, it is well calculated to serve as a foundation for the study of Ruben's art...The criticism is from a sound and safe ground of true comprehension of the painter's point of view." - Russell Sturgis, The New York Times, Dec. 16, 1899.