Relevant bibliographies by topics / Ex-libris (bookplate)

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Academic literature on the topic 'Ex-libris (bookplate)'

Author: Grafiati
Published: 4 June 2025
Last updated: 1 August 2025

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Journal articles on the topic "Ex-libris (bookplate)"

1

Kasianenko, Karolina. "Ex Libris by Iryna Koliadyna: a Highlight of the Artistic Life of Ukraine." Bulletin of KNUKiM. Series in Arts, no. 41 (December 30, 2019): 226–32. https://doi.org/10.31866/2410-1176.41.2019.188704.

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The purpose of the article is to introduce to the scientific community and to open for scientific research a new personality, a local bookplate artist Iryna Koliadyna, whose numerous works have represented the national graphic art at the International Biennial of Ex libris since Ukraine became an independent state. The research methodology has been determined by the system and analytical approach, which allowed classifying 475 bookplates into four ways. Based on the chronological analysis the general tendency of the development of the author’s print in the modern ex libris
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Grabovscaia, Maria. "Organisation, research and conservation of an ex-libris collection: contemporary approaches and historical analysis." Dialogica. Revistă de studii culturale și literatură, no. 2 (August 2024): 69–74. http://dx.doi.org/10.59295/dia.2024.2.09.

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The aim of the article is to analyse trends in the field of digital management of graphic archives in the context of the rapidly changing information environment, to consider issues of data security and accessibility. To raise the issue of popularising the study of the bookplate as an independent genre in the fine arts and as a historical document that attests to the era, events and people. The history of ex-libris goes back to ancient times, with the appearance of the text and its first owner. This history is multifaceted, diverse and touches on various aspects of the worldwide development of
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Romanenkova, Julia, Anna Paliychuk, and Vadym Mykhalchuk. "Kiev ex-libris school as a xylography traditions keeper in printmaking of modern Ukraine." Journal of graphic engineering and design 12, no. 3 (2021): 39–45. http://dx.doi.org/10.24867/jged-2021-3-039.

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The article is dedicated to Kiev ex-libris school role (EL) in modern Ukrainian printmaking. The loss process by a bookplate of utilitarian, applied functions and its transformation into an independent work of art, collectors' object of interest with an appreciated art value is described. The ex-libris schools formed in the first quarter of the 21st century are emphasized, the main trends of the bookplate development predominant centers are defined (Kiev, Lvov, Odessa, Luhansk). Printmaking techniques, typical for a particular ex-libris school, are marked. Kiev bookplate school, as one of the
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Romanenkova, Julia V. "The Bookplate in the Artistic Culture of Ukraine at the Turn of the 21st Century." Tekst. Kniga. Knigoizdanie, no. 25 (2021): 122–43. http://dx.doi.org/10.17223/23062061/25/7.

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The object of research in this article is the ex-libris sphere of Ukraine in the period from the beginning of the 1990s to the present day. Ukrainian ex-libris actually began to exist in 1991, when it became possible to speak about the Ukrainian bookplate as a phenomenon of art rather than about it as a segment of Soviet graphic art. It has headily changed its character and started a different transformation since the early 1990s. Over the past 20 to 25 years, the Ukrainian bookplate not only has come out of the shadows, turning into a valuable work of art, but also has received several new ro
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Radishauskayte, Natalya V. "Marks of Ownership of Russian Far Eastern Book Collectors in the Late 19th — Early 20th Centuries." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 3 (2021): 309–20. http://dx.doi.org/10.25281/0869-608x-2021-70-3-309-320.

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The Russian pre-revolutionary book features many various provenance marks including marks of ownership. Such marks indicate that a particular item belongs to a particular owner. They can have forms of supralibros (or super ex-libris), ex-libris (or bookplates), book stamps, signatures and inscriptions. There are also “non-specific” ownership stamps and labels, which do not have indications of their book nature (such as phrases “from the books/library of...”, “ex-libris…”) and can be used on any objects. Usually these are word rubber stamps (rarely — labels) with a text consisting of a book own
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Vasiliev, Nicoleta, and Lucia Adascalița. "ARTA EX-LIBRISULUI." Magazin Bibliologic 3-4, 2021 (December 10, 2021): 145. https://doi.org/10.5281/zenodo.5771848.

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Having a millennial history, the exlibris (bookplate) charms viewers with its unique composition and the diversity of techniques (woodcut, linocut, lithography, screen printing, off - set, aquatint, mezzotinto, zincography, etchings, computer aided graphics, etc.). Originally being the heraldic sign, during its long evolution of approximately 3350 years, ex-libris approached to its actual form of artistic miniature. The interest in it derives both from the point of view of composition, themes and typographic/artistic technique, as well as from the perspective of deciphering additional informat
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7

Stelingowska, Barbara. "Ekslibris – artystyczna personalizacja [Ex-libris – an artistic personalisation]." Napis XXV (2019) (January 1, 2019): 288–303. https://doi.org/10.18318/napis.2019.1.18.

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An ex-libris is a personalised mark of ownership of a book, used by a holder of a collection, which highlights their bibliophilic attitude to their library. It becomes proof of a person’s distinctive connection with a book, as well as an expression of respect and diligence. In the past, it was meant to act as a reminder to return the copy, in a timely manner, to the person from whom it was borrowed. The ex-libris also identifies collections, protecting them against theft. Taking various shapes and forms, created in an ordinary or artistic fashion,
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8

Senyk, Yaroslav. "«Highly respected master!»: correspondence of Jacques Hnizdovsky and Roman Ferencevych. 1977–1985 (in the Manuscript Division of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv)." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 387–457. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-18.

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The article describes correspondence of the world-known artist Jacques Hnizdovsky and the editor Roman Ferencevych, kept in the Manuscript Division of Stefanyk National Scientific Library of Ukraine in Lviv. Thirty three letters of Jacques Hnizdovsky that reveal his creative workshop during the heyday of his artistic talent, as well as twelve letters of Roman Ferencevych are presented to the scholar public for the first time. The Appendix contains six letters of R. Ferentsevych’s correspondence concerning Jacques Hnizdovsky, and also the letter of Stefanie Hnizdovsky. Roman Ferencevych, a prin
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Cosovan, Veronica. "ÎN SLUJBA PATRIMONIULUI CULTURAL." Magazin Bibliologic 3-4, 2021 (December 9, 2021): 145. https://doi.org/10.5281/zenodo.5769559.

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The article focuses on the work of the "Bibliophile Values" Symposium with international participation, traditionally organized each year in June. The 2021 edition (June 15-16, 2021) was an anniversary one, held under the title "Romanian language – 500 years of endurance in written Romanian culture". Two sections functioned at this Symposium: “Bibliophile values of the cultural heritage: research and valorization” and “Bookplate and book graphics”
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Koshkina, Olga Yu. "The Art of Old Artists as a Source of Inspiration in the Bookplates by Konstantin Kalinovich." Observatory of Culture 19, no. 5 (2022): 536–48. http://dx.doi.org/10.25281/2072-3156-2022-19-5-536-548.

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Konstantin Yuryevich Kalinovich (b. 1959), an artist and illustrator who demonstrates exclusive techniques and a high degree of detail in the field of printed graphics, is the owner of a large number of international awards, prestigious art prizes and the title of Corresponding Member of the Royal Society of Painter-Printmakers of the United Kingdom (1992). K.Yu. Kalinovich’s professionalism is also convincingly manifested in small forms — in the art of ex-libris. The artist’s formation as an etcher began in the Leningrad period of his studies in the experimental lithographic workshop of the L
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Dissertations / Theses on the topic "Ex-libris (bookplate)"

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Escolar, Turbany Esteban. "Ex-libris: De marca de propiedad a objeto de coleccionismo. Una visión histórica, social y antropológica posmoderna." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/362659.

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En la posmodernidad, los ex-libris y los exlibristas forman un microcosmo englobado en la galaxia del arte. Regularmente se ha escrito mucho y bueno sobre ellos por doctos y eruditos seguidores de estas pequeñas estampas, la gran mayoría de estos escritos son sobre su uso, su prolija y extensa historia, sus artistas y sus patrones. Muchos siglos han transcurrido desde que el faraón de la XVIII dinastía, Amenofis III (1391-1351 a.C.) usó el primer ex-libris conocido hasta nuestros días. Durante estos siglos incontables bibliotecarios y exlibristas han estado vinculados a ellos, dado que son una
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2

Ysasi, Alonso Alejandro. "La obra gráfica de Pedro Quetglas “Xam” (1915-2001): la riqueza de un patrimonio." Doctoral thesis, Universitat de les Illes Balears, 2014. http://hdl.handle.net/10803/284394.

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És una investigació, anàlisis, i aproximació a l’obra gràfica de l’artista mallorquí, del segle XX, Pere Quetglas, conegut pel pseudònim de “Xam”. La seva activitat s'ha sistematitzat sobre la base la biografia, tècniques treballades i el seu entorn. Xam, es va exercitar en la caricatura, el dibuix, el cartell, el gravat xilogràfic, la pintura, els monotips, la serigrafia i en el gravat calcogràfic. Del conjunt de tota la seva producció l’autor se centra en l'obra gràfica produïda a partir de 1944, quan pot datar-se la seva primera xilografia, i la seva defunció, l’any 2001, en el qual realit
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Books on the topic "Ex-libris (bookplate)"

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Exposition "Sommets de l'art contemporain des ex-libris en Europe" (1997 Brussels, Belgium). Sommets de l'art contemporain des ex-libris en Europe. Kredietbank, 1997.

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2

Ilay, Campbell, ed. Scottish bookplates. Bookplate Society, 2006.

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3

Bardazzi, Emanuele. Der Akt im modernen Exlibris: Il nudo negli ex libris del primo '900. Saletta Gonnelli, 2005.

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4

Jakac, Božidar. Ex libris. Narodna in univerzitetna knjižnica, 1994.

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5

Kelly, Jerry, 1955- book designer, ed. Ex libris. [Stephanie Hnizdovsky], 1986.

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6

Filippis, Mario De. Ex libris: Il lionismo in 150 ex libris. Rubbettino, 1996.

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7

1943-, Palmirani Remo, Quaranta Bruno, and Palazzo Farnese (Museum : Ortona, Italy), eds. Ex libris d'arte. Progetti farnesiani, 1999.

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8

Casado, Juan Delgado. Los ex libris españoles. Vicent García, 1996.

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9

Berlusconi, Fondazione Luigi, Palazzo della permanente (Milan, Italy), and Mostra libro antico (4th : Milan, Italy), eds. Ex libris librorum. Fondazione Luigi Berlusconi, 1993.

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10

Palmirani, Remo. Ex libris massonici. Edizioni Il torchio, 2000.

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Conference papers on the topic "Ex-libris (bookplate)"

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Kravcenko, Vladimir. "Bookplates from the archives of the National Library of Romania and the National Library of the Republic of Moldova: some profiles from the big collections." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.06.

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The paper is focused on the bookplates in original and in reproductions kept in the large collections of the Romanian cultural space. Data on the stylistic elements of the signs of possession from the old books and from the engraving and drawing collections are provided. Important data is offered on the ex-libris types, on the creative traditions and rules of making, on the origin of the signed books and of the artworks made in Romania, Republic of Moldova and other states in different years. Also, there are highlighted original bookplates made by Leonid Nikitin and Valeriu Herţa, the well-kno
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