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Roy Véronique
Museum.
Fayard. 2006. In-8. Broché. Etat d'usage, Coins frottés, Dos plié, Papier jauni. 435 pages, exemplaire de bibliothèque, couverture plastifiée, tampons et étiquettes - coiffes abimées, 1er plat et quelques pages partiellement désolidarisés.. . . . Classification Dewey : 840.092-XXI ème siècle
Reference : R200124727
ISBN : 2213629811
Roman. Avec Luc Fivet. Classification Dewey : 840.092-XXI ème siècle
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5 book(s) with the same title
Museum Wormianum. Seu Historia Rerum rariorum, Tam Naturalium, quam Artificialium, tam Domesticarum, quam Exoticarum, quæ Hafniæ Danorum in ædibus Authoris servantur. Adornata ab...Variis & accuratis Iconibus illustrata. - [MUSEUM WORMIANUM]
Lugduni Batavorum (Leiden), Ex Officina Elzeviriorum, 1655. Folio. 18th century full calf with gilt spine. Gilding worn and some overall wear to boards, but fine and tight. Capitals restored. Internally very nice and clean, with just a bit of light brownspotting to the first and last leaves (dedication and index). Generally unusally nice, clean, and crisp. A small discreet stamp (Doublette der L.U. Bibl. Erl.) to title-page and a neat contemporary owner's inscription. Good margins. Bound without the portrait, which is often the case. Otherwise complete, with the magnificent double-page engaved plate showing the interior of the museum by Wingendorp, 11 beautiful engraved illustrations (one of which consisting in two illustrations), two of which are full-page (one being the famous one of the horn), and numerous lovely, and elaborate woodcut illustrations in the text. Woodcut title-vignette, woodcut vignettes and initials. Title-page, (4) pp. of dedication, (6) pp. of preface and index, double-page plate, 389, 3 (index) pp. A lovely copy, rarely seen in such nice condition.
The scarce first edition of this monumental work in early modern museum literature, constituting the catalogue of the first Danish museum and one of the most important cabinets of curiosities in Europe. The magnificent double-page engraved plate depicting the interior and outlay of the museum is one of the most well known and famous illustrations from any ""Wunderkammer""-book, iconographically summizing what we understand by the genre.The Museum Wormianum was filled with preserved animals, horns, tusks, skeletons, minerals, as well as various man-made objects that Worm found equally fascinating and interesting, either due to their age, their beauty, the wonder of their execution, their being exotic, etc., many of them depicted here in the finest manner. The text of the ""Museum Wormianum"" is divided into four books, the first three dealing with minerals, plants, and animals respectively. The fourth comprises man-made objects, e.g. archeological and ethnographical items, coins and some original works of art. This, Worm's magnum opus, is not merely a catalogue of the numerous wondrous items in the collection, however, it is a scientifically based scholarly work that also contains references to, and quotations from, other writers. The famous Danish doctor, Ole Worm (1588-1654), who was professor of medicine throughout the last thirty years of his life, had become professor of physics in 1621. Already the year before, in 1620, had he begun the famous collection that would become one of the greatest cabinets of curiosites in Europe (and one of the first museums) and which would earn him the position as the first great systematic collector (within natural history) in Scandinavia. It was his then newly begun collection that enabled him, as professor of physics, to introduce demonstrative subject teaching at the university, as something completely new. He continued building and adding to his magnificent collection, now known as ""Museum Wormianum"", throughout the rest of his life. Worm used his collection, not only in his teaching (for which he was famous), but also as a starting point for his speculations on philosophy, science, natural history, etc. He is responsible for many great discoveries, e.g. for identifying the narwhal's tusk as coming from a whale rather than a unicorn, as was generally believed at the time. As was also the case with other great cabinets of curiosities, the ""Museum Wormianum"" greatly served scientific advancement, not least when the images of its content were printed, as they were here, in 1655.As Worm visited other famous cabinets of curiosities, so many foreign visitors came to see his, which was famous throughout Europe. After his death, the collection was bought by the Danish King, Frederik III, and was thus included in Det Kongelige Kunstkammer (The Royal Art Chamber). The collection is now in Statens Naturhistoriske Museum (Natural History Museum), which in November 2011 famously reprodced the ""Museum Wormianum"", from what they could see it looked like on the great double-page plate in the fabulous catalogue, as a permanent exhibition. The magnificent folio catalogue of the collection was edited and seen through press by Worm's son Willum and was published by the Elzeviers. Willems 772" Paul Grinke: From Wunderkammer to Museum: no. 75.
Stained Glass before 1700 in the Philadelphia Museum of Art,
Turnhout, Brepols, 2003 Hardback, 432 p., 60 b/w ill. + 300 colour ill., 230 x 315 mm. ISBN 9781872501192.
The Philadelphia Museum of Art is renowned for its world-class collections, and the medium of stained glass was already recognized as an integral part of these collections since the time of the museum's establishment in 1876. It was in that year that the first stained glass window was purchased for the original building in Fairmount Park - Memorial Hall - and the acquisition of stained glass has played a significant role in the development of the museum ever since. Medieval glass in particular, displayed as it now is in the context of the museum's medieval installations, has enhanced both the appreciation as well as a deeper understanding of the art of the Middle Ages. The present volume, Part VI/1 of the series Corpus Vitrearum USA, illustrates and catalogues in great detail the entire holdings of more than 140 stained glass panels now in the Philadelphia Museum of Art. The collection is wide-ranging in both date and origin of production : it includes panels of high quality from the early thirteenth to the seventeenth century, and from a number of different countries and regions. Pride of place among the items catalogued are the large-scale ecclesiastical windows from France, the most precious of which are the three stained glass medallions commissioned in mid-thirteenth century by Louis IX for his palace chapel in Paris, the Sainte-Chapelle. Of equal importance is the holding of English armorial glass, considered to be the most extensive collection in the United States, while from the North and South Lowlands, the museum also owns an interesting group of unipartite glass panels. The author, Dr Renee Burnam, provides an exceptionally detailed and well-researched catalogue entry for each panel, and gives not only a full description of its iconography, style, technique and condition, but introduces every item with a lengthy account of the history of the glass, enlivening her text with a wealth of comparative illustrations. In addition to the main body of the catalogue, Dr Burnam also provides shorter descriptions of the figural glass acquired by the museum in 1945 from the estate of George Gray Barnard and of a group of composite heraldic glass, either altered or dated after 1700; and finally she includes entries for further unipartite panels either damaged, fragmented or dated post-1700. Furthermore there is a most interesting and useful Appendix listing de-accessioned glass that had been acquired earlier in the museum's history. How this substantial collection of stained glass was formed is the main theme of the author's Introduction to this volume. She traces the acquisitions, gifts and bequests from the time of the founding of the museum and shows how the present collection benefitted from the enterprise and discernment of successive museum directors and curators, and how great the contribution has been by the many generous collectors, donors and benefactors. All catalogued panels are reproduced in colour and juxtaposed with their relevant restoration charts. The volume also includes a Glossary, an exhaustive Bibliography and a comprehensive Index. Languages : English.
[Muséum d'Histoire Naturelle de Bordeaux] - Collectif ; Muséum d'Histoire Naturelle de Bordeaux ; ROCHER, Philippe ; CHAPIN-AUDINET
Reference : 62340
(1982)
[ Lot de 10 ouvrages relatifs au Muséum ] 7 catalogues d'exposition du Muséum d'Histoire Naturelle de Bordeaux : Richesses du Monde Minéral 12-27 Mai 1979 - Quand vivaient les Dinosaures... 1982 - Quels étaient les Animaux de la Préhistoire ? à Pair-non-Pair, en Gironde, 1986 - Ver à Soir. Vers la Soie, 1990 - Bois et Cornes, 1991 - Les chauves-souris, 1991 ; Centenaire de "Miss Fanny". Eléphant au Muséum, 1992 ; Fossiles typiques du Bordelais, par Philippe Rocher, s.d. [ circa 2000 ] [ On joint : ] Document pédagogique destiné aux enseignants : La Chauve-Souris ... et l'Homme, 1991 ; Animaux des Amériques 500 ans de découvertes, 1992 [ On joint : ] Muséum de Bordeaux, par Chapin-Audinet, L'Horizon Chimérique, 1990, 15 pp. [ Livre dédicacé par l'auteur ]
10 vol. à savoir 7 vol. petit in-8 br.,Muséum d'Histoire Naturelle de Bordeaux : Quand vivaient les Dinosaures... 1982, 31 pp. - Quels étaient les Animaux de la Préhistoire ? à Pair-non-Pair, en Gironde, 1986, 101 pp. - Ver à Soir. Vers la Soie, 1990, 101 pp. - Bois et Cornes, 1991, 53 pp. - Centenaire de "Miss Fanny". Eléphant au Muséum, 1992, 59 pp. et 2 vol. in-4 br., Document pédagogique destiné aux enseignants : La Chauve-Souris ... et l'Homme, 1991 ; Animaux des Amériques 500 ans de découvertes, 1992 ; Muséum de Bordeaux, par Chapin-Audinet, L'Horizon Chimérique, 1990, 15 pp. [ Livre dédicacé par l'auteur ]
Bon ensemble, non séparable.
AT HOME IN A MUSEUM The story of Henriëtte and Fritz Mayer van den Bergh
, Hannibal Publishing, 2021 HARDCOVER , 240 x 170 mm, 240 pages. fine. ISBN 9789463887717.
The Museum Mayer van den Bergh in Antwerp is a house full of art. Art which surprises, intrigues, moves. The museum today is internationally renowned as the home of the famous Dulle Griet ('Mad Meg') by Pieter Bruegel the Elder. For the locals living in Antwerp, the museum is above all a well-kept secret. At the same time, there is always amazement that so much beauty could be brought together in one place. Who built this collection? The museum is housed in a historic building which recalls two individuals, Henriëtte van den Bergh (1838-1920) and Fritz Mayer van den Bergh (1858-1901). The entire collection was assembled by Fritz, a man with a keen interest in the Medieval Renaissance periods. Following Fritz's early and unexpected death on 4 May 1901, it was his mother, Henriëtte van den Bergh, who had the museum built to house his art collection. By doing so, she preserved this exceptional collection and at the same time succeeded in keeping alive a memorial to her son. The museum opened its doors in 1904. This book offers an insight into the history of the museum and its founders. It is based on in-depth research carried out in the archive of Museum Mayer van den Bergh, which among other things contains the rich correspondence between Fritz and Henriëtte as well as an extensive photo collection. Over four chapters, the book explores the personalities behind the collection, their social background and networks, their interests and their modus operandi. More than anything else, this is the story of Henriëtte van den Bergh, the founder of the museum, who died one hundred years ago. With her visionary projects, she proved herself not only to be a forceful personality, but also someone with a forward-looking organisational talent and an entrepreneur with an exceptional mission - and all in a period when the involvement of women in public life was anything but the norm.
THUIS IN EEN MUSEUM Het verhaal van Henriëtte en Fritz Mayer van den Bergh
, Hannibal Publishing, 2021 HB, 240 x 170 mm, 240 pagina's, NL edition. ISBN 9789463887618.
Het Museum Mayer van den Bergh in Antwerpen is een huis vol kunst. Kunst die verwondert, intrigeert, beroert. Het museum is vandaag internationaal bekend als de thuishaven van de befaamde Dulle Griet van Pieter Bruegel de Oude. Voor Antwerpenaren is het museum vooral een goed bewaard geheim. Tegelijkertijd is er altijd de verbazing over hoe zoveel moois op één plek kon worden samengebracht. Wie heeft dit verzameld? Het museum is een monument dat herinnert aan twee personen, Henriëtte van den Bergh (1838-1920) en Fritz Mayer van den Bergh (1858-1901). De gehele collectie werd bijeengebracht door Fritz, een man met een uitgesproken belangstelling voor de middeleeuwen en de renaissance. Na het vroegtijdige en onverwachte overlijden van Fritz op 4 mei 1901 was het zijn moeder, Henriëtte van den Bergh, die het museum voor zijn kunstwerken liet bouwen. Daarmee bewaarde zij deze uitzonderlijke collectie en slaagde ze er tegelijk in de herinnering aan haar zoon levendig te houden. Het museum opende zijn deuren in 1904. Dit boek biedt een inkijk in de geschiedenis van het museum en zijn stichters. Het is gebaseerd op diepgaand onderzoek in het archief van het Museum Mayer van den Bergh, dat onder meer de rijke correspondentie van Fritz en Henriëtte en een uitgebreide fotocollectie bevat. In vier hoofdstukken wordt ingegaan op de persoonlijkheden achter de verzameling, hun sociale achtergrond en netwerk, hun interesses en hun modus operandi. Bovenal is dit het verhaal van Henriëtte van den Bergh, die honderd jaar geleden overleed. Met haar visionaire projecten toonde de stichtster van het museum zich niet alleen als een wilskrachtige persoonlijkheid, maar ook als een toekomstgericht organisatietalent en een onderneemster met een uitzonderlijke missie - en dat in een periode waarin de inmenging van vrouwen in de publieke sfeer helemaal niet vanzelfsprekend was.
