6718 books for « de j m bruno p fr »Edit

‎Bruno Vekemans, Kinshasa - Congo ‎

‎, Antwerp, 2008., 300 x 235 mm, 112p, Eng./ Fr./ NL/ Germ. ed. Hardback (relie) ISBN 9789077207192.‎

‎In December 2005, Bruno Vekemans decided for the first time in his oeuvre to create an extensive series of artworks on a particular theme. In May of 2006 Bruno Vekemans stayed in Kinshasa, Congo - 2 months prior to the first round of the first democratic elections in 40 years - to prepare for a series of gouaches, oils on canvas and verres eglomises. His physical presence and the emotional experience of this study trip to Kinshasa made an overwhelming impression on Bruno Vekemans, both as a person and as an artist. He allowed this project to occupy two years of his life. At the centre of it all lies authenticity.Bruno Vekemans is a personality, and, beyond that, a man with a great deal of respect for other people, both in his daily life and as subjects.He retains everything of the authentic artist, and has been painting since the age of seven. Throughout his career, Vekemans has always maintained that he does not like to theorise or even philosophise about his work. His life and his mission are simply to paint. That reflexive response reveals how his art is a highly intuitive and everyday activity to him.The black people portrayed in Kinshasa have an individuality and naturalness no longer apparent in West Europeans. They are not affected; neither are they influenced by the media: qualities that enable Bruno Vekemans to portray them in their full glory. He gives the Congolese a starring role.The image material - photos and film - collected as a sort of sketchbook for this series, is "genuine" and experienced by the artist.This art book recreates that Kinshasa Congo experience for the reader, not only through its text, but also and above all through its images.Dvd included (4,5 minuten Vekemans in Kinshasa-Congo) ‎

‎Bruno Vekemans Kinshasa - Congo. ‎

‎, Antwerp, 2008., Hardback, 300 x 235 mm, 112p, Eng./ Fr./ NL/ Germ. ed. ISBN 9789077207192.‎

‎In December 2005, Bruno Vekemans decided for the first time in his oeuvre to create an extensive series of artworks on a particular theme. In May of 2006 Bruno Vekemans stayed in Kinshasa, Congo - 2 months prior to the first round of the first democratic elections in 40 years - to prepare for a series of gouaches, oils on canvas and verres eglomises. His physical presence and the emotional experience of this study trip to Kinshasa made an overwhelming impression on Bruno Vekemans, both as a person and as an artist. He allowed this project to occupy two years of his life. At the centre of it all lies authenticity.Bruno Vekemans is a personality, and, beyond that, a man with a great deal of respect for other people, both in his daily life and as subjects.He retains everything of the authentic artist, and has been painting since the age of seven. Throughout his career, Vekemans has always maintained that he does not like to theorise or even philosophise about his work. His life and his mission are simply to paint. That reflexive response reveals how his art is a highly intuitive and everyday activity to him.The black people portrayed in Kinshasa have an individuality and naturalness no longer apparent in West Europeans. They are not affected; neither are they influenced by the media: qualities that enable Bruno Vekemans to portray them in their full glory. He gives the Congolese a starring role.The image material - photos and film - collected as a sort of sketchbook for this series, is "genuine" and experienced by the artist.This art book recreates that Kinshasa Congo experience for the reader, not only through its text, but also and above all through its images.Dvd included (4,5 minuten Vekemans in Kinshasa-Congo) ‎

‎Bruno Bisang, Exposure **SIGNED! ‎

‎, teNeues , 2011 Hardback, 355x280mm, 192 PAGES, throughout bw and col. illustrations, English/ French/ German/ SP/ IT edition. ** SIGNED AND INSCRIPTION BY BRUNO BISANG!! (for model Valerie) ISBN 9783823845980.‎

‎** SIGNED AND INSCRIPTION BY BRUNO BISANG!! Mottled surfaces and frayed corners anchor us firmly in the rough and tumble of the creative process. Designed to be disposable, every annotation and mis-step is a part of cultural and artistic history. We sense a depth so lacking in today's digital manipulation. Page by page, readers witness the unfolding of Bisang's vision. Swiss photographer Bruno Bisang has been on a life-long artistic quest to document the unending, multi-faceted varieties of the feminine mystique. His photographs are more than mere idealisations of the female form. They are expressions of Bisang's desire to record the independent spirit of his subjects - international models and celebrities such as Claudia Schiffer, Tyra Banks and Monica Belluci. This collection of exquisitely observed photographs is a luminous distillation of essence and form, "a record of woman's radiance" that expresses Bisang's belief that "every woman possesses a fount of femininity and unique sensuality". Bruno Bisang is a much sought-after Swiss fashion photographer who lives and works in Zurich, Milan, Paris and New York. He photographs advertising campaigns for many of the major fashion houses and his work appears regularly in magazines such as Vogue, Max and GQ. His book Photographs was published by teNeues in 2000‎

‎Retrospectiva Bruno Vekemans Retrospective ‎

‎, [BE] Stockmans - Devos , 2010 Hardback, 240x300mm, 248p, 170 colour illustrations, English/ French/ Dutch (NL)/ SP. edition . ISBN 9789077207215.‎

‎Expo: 1/10/2010 - 5/12/2010, Museo Nacional de Bellas Artes, Havana Op 1 oktober 2010 opent in het Museo Nacional de Bellas Artes in Havana een retrospectieve van het werk van de Antwerpse kunstenaar Bruno Vekemans (1952). De tentoonstelling, die tot 5 december loopt, geeft een overzicht van het werk dat Vekemans de laatste 15 jaar heeft gemaakt. In de tentoonstelling zal eveneens een selectie worden getoond van de nieuwe Havana-reeks waaraan Vekemans de afgelopen drie jaar heeft gewerkt. De nieuwe Havana-reeks die Vekemans schildert, is een vervolg op de Kinshasa-Congo-reeks waaraan de Antwerpse kunstenaar werkte tussen 2006 en 2007. Die serie brengt indringende portretten van gewone mensen die Vekemans in de straten van de Congolese hoofdstad ontmoette. Gefascineerd door de link tussen de Congo-cultuur en de Afro-Cubaanse traditie trok Vekemans eind 2007 voor het eerst naar Havana om daar opnieuw gewone Cubanen te fotograferen en te schilderen. Met de retrospectieve in het Museo Nacional de Bellas Artes krijgt de 58-jarige Vekemans eindelijk de internationale erkenning die hij verdient. ‎

‎Antwerp in the Renaissance‎

‎, Brepols - Harvey Miller, 2020 Hardcover, 315 pages ., 19 b/w ill. + 49 colour ill., 4 b/w tables, 178 x 254 mm,. ISBN 9782503588339.‎

‎Antwerp in the Renaissance offers new research results and fresh perspectives on the economic, cultural, and social history of the Antwerp metropolis in the sixteenth century. This book engages with Antwerp in the Renaissance. Bringing together several specialists of sixteenth-century Antwerp, it offers new research results and fresh perspectives on the economic, cultural and social history of the metropolis in the sixteenth century. Recurrent themes are the creative ways in which the Italian renaissance was translated in the Antwerp context. Imperfect imitation often resulted from the specific social context in which the renaissance was translated: Antwerp was a metropolis marked by a strong commercial ideology, a high level affluence and social inequality, but also by the presence of large and strong middling layers, which contributed to the city?s ?bourgeois? character. The growth of the Antwerp market was remarkable: in no time the city gained metropolitan status. This book does a good job in showing how quite a few of the Antwerp ?achievements? did result from the absence of ?existing structures? and ?examples?. Moreover, the city and its culture were given shape by the many frictions, and uncertainties that came along with rapid urban growth and religious turmoil. Bruno Blond and Jeroen Puttevils are colleagues at the Centre for Urban History at the University of Antwerp. The research fields of Blond include the history of transportation, economic growth and social inequality, material culture, retail and consumption of the early modern Low Countries. Puttevils works on the late medieval Low Countries and deals with topics such as mercantile and financial culture, the history of lotteries and how people thought about the future in the past. Table of Contents Antwerp in the Renaissance Bruno Blond and Jeroen Puttevils Sixteenth-Century Antwerp, a Hyper-Market for All? The Case of Low Countries Merchants Jeroen Puttevils Antwerp Commercial Law in the Sixteenth Century: A Product of the Renaissance? The Legal Facilitating, Appropriating and Improving of Mercantile Practices Dave De Ruysscher Brotherhood of Artisans. The Disappearance of Confraternal Friendship and the Ideal of Equality in the Long Sixteenth CenturyBruno Blond and Jeroen Puttevils Sixteenth-Century Antwerp, a Hyper-Market for All? The Case of Low Countries Merchants Jeroen Puttevils Antwerp Commercial Law in the Sixteenth Century: A Product of the Renaissance? The Legal Facilitating, Appropriating and Improving of Mercantile Practices Dave De Ruysscher Brotherhood of Artisans. The Disappearance of Confraternal Friendship and the Ideal of Equality in the Long Sixteenth Century Bert De Munck ?And Thus the Brethren Shall Meet All Together?. Active Participation in Antwerp Confraternities, c. 1375?1650 Hadewijch Masure A Renaissance Republic? Antwerp?s urban militia, ?the military Renaissance? and structural changes in warfare, c. 1566?c. 1621 Erik Swart A Counterfeit Community. Rederijkers, Festive Culture and Print in Renaissance Antwerp Anne-Laure Van Bruaene Literary Renaissance in Sixteenth-Century Antwerp? Herman Pleij Building the Metropolis Krista De Jonge, Piet Lombaerde, and Petra Maclot The City Portrayed. Patterns of Continuity and Change in the Antwerp Renaissance City View Jelle De Rock Trial and error. Antwerp Renaissance art Koenraad Jonckheere Silks and the ?Golden Age? of Antwerp ‎

‎LRBT. Dall'archeologia all'epigrafia / De l'arch ologie l' pigraphie. Studi in onore di Maria Giulia Amadasi Guzzo / tudes en hommage Maria Giulia Amadasi Guzzo‎

‎, Brepols, 2021 Paperback, 370 pages, Size:216 x 280 mm, Illustrations:65 b/w, 1 col., 10 tables b/w., Language(s):French, English, Italian. ISBN 9782503596679.‎

‎Summary Questa Festschrift rende omaggio a Maria Giulia Amadasi Guzzo (Universit degli studi di Roma ?La Sapienza?), una tra le pi autorevoli voci nel campo dell'epigrafia fenicio-punica e della filologia semitica. Il volume, riflettendo i molteplici interessi intellettuali di questa studiosa, raccoglie diciotto contributi originali di studenti, amici e colleghi. Il Mediterraneo fenicio-punico del I millennio a.C. costituisce il principale focus di quest'opera, che si estende per a regioni limitrofe e arriva ad includere anche il periodo imperiale romano. I diversi contributi ricorrono ad una grande variet di approcci e tradizioni di ricerca e comprendono l'edizione di nuove iscrizioni e corpora epigrafici, il riesame di reperti e siti archeologici di notevole interesse, talvolta poco noti o inediti, cos come saggi di carattere storico-archeologico e religioso. TABLE OF CONTENTS Aneddoti e svaghi propos de Maria Giulia (Corinne Bonnet) "Perch ha ascoltato la voce delle nostre parole". Un'introduzione (Nicola Chiarenza, Bruno D'Andrea & Adriano Orsingher) Abbreviazioni / Abr viations Pottery variability and site function: Late Punic and Early Roman ceramic assemblages from Ras ir-Raheb and other archaeological sites in the Maltese Islands (Maxine Anastasi & Nicholas Vella) Formes et aspects des puissances divines ph niciennes Chypre. Le cas de Kition : approche compar e des pith tes et de l'anthroponymie (Maria Bianco) Note sulla religione dei Fenici in Egitto (Luisa Bonadies) Sur les configurations des dieux dans le monde ph nicien et punique (Corinne Bonnet) Astarte ed Era-Giunone: considerazioni su interpretatio e rituale. Una prospettiva dal santuario di Tas-Silg a Malta (Francesca Bonzano) Phoenician writing in Greece: content, chronology, distribution and the contribution of Cyprus (Giorgos Bourogiannis) Dediche di stranieri a el-Hofra, 2: i Libici (Alessandro Campus) Retour Lap thos : une mise au point historique et pigraphique (Anna Cannav ) La dea in cucina: un bruciaprofumi a testa femminile fra pratiche domestiche, interazioni e ibridazioni nella Sicilia punico-ellenistica (Nicola Chiarenza) nouveau sur la gens Bacchuiana et le Saturne d'Acha e (Mich le Coltelloni Trannoy) Note sulla presenza e sugli usi degli equini nelle comunit fenicie e puniche del Mediterraneo occidentale (Bruno D'Andrea) Marqueurs fun raires de Kition l' poque classique (Sabine Fourrier) Organizzazione degli spazi, strategie economiche e cultura materiale di una comunit eterogenea: ancora sul caso di Huelva (Sara Giardino) A Phoenician ostracon from the Delphinion: Abdalonim the "gardener king" in Miletos? (Alexander Herda & Maria Gorea) Cyprus in the context of Phoenician studies: the homeland evidence (Maria Iacovou) Ivory networks in the Iron Age Mediterranean: a lid from Tharros (Adriano Orsingher) Trois nouvelles inscriptions n opuniques du nord-ouest tunisien (Mohamed Tahar) ?Where were the Jews of the Diaspora buried?? Riflessioni a pi di vent'anni dal lavoro di David Noy (Cinzia Vismara) Riassunti / R sum s / Abstracts‎

‎Araki : Viaggio Sentimentale‎

‎, Gli Ori / Museo Pecci di Prato, 2000 Paperback, 240 pages / paginas ; ENG / ITA , 325 x 280 x 22 mm, Large Format, photographs in colour / b/w, full page, in New Condition !. ISBN 9788887700190.‎

‎Prato: Centro per l'arte contemporanea Luigi Pecci, , 2000. Brossura (wrappers). Ottimo (Fine). Volume pubblicato ion occasione della mostra tenuta presso il Centro per l'Arte Contemporanea Luigi Pecci di Prato, 15 aprile - 25 giugno 2000, a cura di Bruno Cor e Filippo Maggia. Testi dei curatori in italiano e inglese. Un'intervista a Nobuyoshi Araki tenuta a Tokyo il 10 dicembre 1999. Completamente illustrato con fotografie in bianco e nero e a colori di Nobuyoshi Araki /////////////////////////////////Prato: Luigi Pecci Center for Contemporary Art, , 2000. Wrappers. Excellent (End). Volume published on the occasion of the exhibition held at the Luigi Pecci Center for Contemporary Art in Prato, 15 April - 25 June 2000, edited by Bruno Cor and Filippo Maggia. Texts by the editors in Italian and English. An interview with Nobuyoshi Araki given in Tokyo on December 10, 1999. Fully illustrated with black and white and color photographs by Nobuyoshi Araki‎

‎Ueber die Lehre des Spinoza in Briefen an den Herrn Moses Mendelssohn. Neue vermehrte Auflage. - [THE FIRST EVER TRANSLATION OF BRUNO'S ""DE UNO ET CAUSA""...]‎

‎Breslau, Gottl. Löwe, 1789, 8vo. Very beautiful contemporary red full calf binding with five raised bands and gilt green leather title-label to richly gilt spine. elaborate gilt borders to boards, inside which a ""frame"" made up of gilt dots, with giltcorner-ornamentations. Edges of boards gilt and inner gilt dentelles. All edges gilt. Minor light brownspotting. Marginal staining to the last leaves. Engraved frontispiece-portrait of Spinoza, engraved title-vignette (double-portrait, of Lessing and Mendelssohn), engraved end-vignette (portrait of Jacobi). Frontispiece, title-page, LI, (1, -errata), 440 pp. Magnificent copy.‎

‎First edition thus, being the seminal second edition, the ""neue vermehrte Auflage"" (new and expanded edition), which has the hugely important 180 pp. of ""Beylage"" for the first time, which include the first translation into any language of any part of Giordano Bruno's ""de Uno et Causa..."" (pp. 261-306) as well as several other pieces of great importance to the ""Pantheismusstreit"" and to the interpretation of the philosophy of Spinoza and Leibniz, here for the first time in print. The present translation of Bruno seems to be the earliest translation of any of Bruno's works into German, and one of the earliest translations of Bruno at all - as far as we can establish, the second, only preceded by an 18th century translation into English of ""Spaccio della bestia trionfante"". It is with the present edition of Jacobi's work that the interest in Bruno is founded and with which Bruno is properly introduced to the modern world. Jacobi not only provides what is supposedly the second earliest translation of any of Bruno's works ever to appear, he also establishes the great influence that Bruno had on two of our greatest thinkers, Spinoza and Leibnitz. It is now generally accepted that Spinoza founds his ethical thought upon Bruno and that Lebnitz has taken his concept of the ""Monads"" from him. It is Jacobi who, with the second edition of his ""Letters on Spinoza..."", for the first time ever puts Bruno where he belongs and establishes his position as one of the key figures of modern philosophy and thought. Bruno's works, the first editions of which are all of the utmost scarcity, were not reprinted in their time, and new editions of them did not begin appearing until the 19th century. For three centuries his works had been hidden away in libraries, where only few people had access to them. Thus, as important as his teachings were, thinkers of the ages to come were largely reliant on more or less reliable renderings and reproductions of his thoughts. As Jacobi states in the preface to the second edition of his ""Letters on Spinoza..."", ""There appears in this new edition, under the title of Appendices (""Beylage""), different essays, of which I will here first give an account. The first Appendix is an excerpt from the extremely rare book ""De la causa, principio, et Uno"", by Jordan Bruno. This strange man was born, one knows not in which year, in Nola, in the Kingdom of Naples"" and died on February 17th 1600 in Rome on the stake. With great diligence Brucker has been gathering information on him, but in spite of that has only been able to deliver fragments [not in translation]. For a long time his works were, partly neglected due to their obscurity, partly not respected due to the prejudice against the new opinions and thoughts expressed in them, and partly loathed and suppressed due to the dangerous teachings they could contain. On these grounds, the current scarcity of his works is easily understood. Brucker could only get to see the work ""De Minimo"", La Croce only had the book ""De Immenso et Innumerabilibus"" in front of him, or at least he only provides excerpts from this [also not in translation], as Heumann does only from the ""Physical Theorems"" [also small fragments, not in translation]"" also Bayle had, of Bruno's metaphysical works, himself also merely read this work, of which I here provide an excerpt."" (Vorrede, pp. (VII)-VIII - own translation from the German). Jacobi continues by stating that although everyone complains about the obscurity of Bruno's teachings and thoughts, some of the greatest thinkers, such as Gassendi, Descartes, ""and our own Leibnitz"" (p. IX) have taken important parts of their theorems and teachings from him. ""I will not discuss this further, and will merely state as to the great obscurity (""grossen Dunkelheit"") of which people accuse Bruno, that I have found this in neither his book ""de la Causa"" nor in ""De l'Infinito Universo et Mondi"", of which I will speak implicitly on another occasion. As to the first book, my readers will be able to judge for themselves from the sample (""Probe"") that I here present. My excerpt can have become a bit more comprehensible due to the fact that I have only presented the System of Bruno himself, the ""Philosophia Nolana"" which he himself calls it, in its continuity... My main purpose with this excerpt is, by uniting Bruno with Spinoza, at the same time to show and explain the ""Summa of Philosophy"" (""Summa der Philosophie"") of ""En kai Pan"" [in Greek characters - meaning ""One and All""]. ... It is very difficult to outline ""Pantheism"" in its broader sense more purely and more beautifully than Bruno has done."" (Vorrede pp. IX-XI - own translation from the German). So not only does Jacobi here provide this groundbreaking piece of Bruno's philosophy in the first translation ever, and not only does he provide one of the most important interpretations of Spinoza's philosophy and establishes the importance of Bruno to much of modern thought, he also presents Bruno as the primary exponent of ""pantheism"", thereby using Bruno to change the trajectory of modern thought and influencing all philosophy of the decades to come. After the second edition of Jacobi's ""Ueber die Lehre des Spinoza"", no self-respecting thinker could neglect the teachings of Bruno"" he could no longer be written off as having ""obscure"" and insignificant teachings, and one could no longer read Spinoza nor Leibnitz without thinking of Bruno. It is with this edition that the world rediscovers Bruno, never to forget him again.WITH THE FIRST EDITION OF ""UEBER DIE LEHRE DES SPINOZA"" (1785), JACOBI BEGINS THE FAMOUS ""PATHEISMUSSTREIT"", which focused attention on the apparent conflict between human freedom and any systematic, philosophical interpretation of reality. In 1780, Jacobi (1743-1819), famous for coining the term nihilism, advocating ""belief"" and ""revelation"" instead of speculative reason, thereby anticipating much of present-day literature, and for his critique of the Sturm-und-Drang-era, had a conversation with Lessing, in which Lessing stated that the only true philosophy was Spinozism. This led Jacobi to a protracted and serious study of Spinoza's works. After Lessing's death, in 1783 Jacobi began a lengthy letter-correspondende with Mendelssohn, a close friend of Lessing, on the philosophy of Spinoza. These letters, with commentaries by Jacobi, are what constitute the first edition of ""Ueber die lehre des Spinoza"", as well as the first part of the second edition. The second edition is of much greater importance, however, due to greatly influential Appendices. The work caused great furor and the enmity of the Enlightenment thinkers. Jacobi was ridiculed by his contemporaries for attempting to reintroduce into philosophy belief instead of reason, was seen as an enemy of reason and Enlightenment, as a pietist, and as a Jesuit. But the publication of the work not only caused great furor in wider philosophical circles, there was also a personal side to the scandal which has made it one of the most debated books of the period: ""Mendelssohn enjoyed, as noted at the outset, a lifelong friendship with G. E. Lessing... Along with Mendelssohn, Lessing embraced the idea of a purely rational religion and would endorse Mendelssohn's declaration: ""My religion recognizes no obligation to resolve doubt other than through rational means"" and it commands no mere faith in eternal truths"" (Gesammelte Schriften, Volume 3/2, p. 205). To pietists of the day, such declarations were scandalous subterfuges of an Enlightenment project of assimilating religion to natural reason... While Mendelssohn skillfully avoided that confrontation, he found himself reluctantly unable to remain silent when, after Lessing's death, F. H. Jacobi contended that Lessing embraced Spinoza's pantheism and thus exemplified the Enlightenment's supposedly inevitable descent into irreligion.Following private correspondence with Jacobi on the issue and an extended period when Jacobi (in personal straits at the time) did not respond to his objections, Mendelssohn attempted to set the record straight about Lessing's Spinozism in ""Morning Hours"". Learning of Mendelssohn's plans incensed Jacobi who expected to be consulted first and who accordingly responded by publishing, without Mendelssohn's consent, their correspondence - ""On the Teaching of Spinoza in Letters to Mr. Moses Mendelssohn"" - a month before the publication of ""Morning Hours"". Distressed on personal as well as intellectual levels by the controversy over his departed friend's pantheism, Mendelssohn countered with a hastily composed piece, ""To the Friends of Lessing: an Appendix to Mr. Jacobi's Correspondence on the Teaching of Spinoza"". According to legend, so anxious was Mendelssohn to get the manuscript to the publisher that, forgetting his overcoat on a bitterly cold New Year's eve, he delivered the manuscript on foot to the publisher. That night he came down with a cold from which he died four days later, prompting his friends to charge Jacobi with responsibility for Mendelssohn's death.The sensationalist character of the controversy should not obscure the substance and importance of Mendelssohn's debate with Jacobi. Jacobi had contended that Spinozism is the only consistent position for a metaphysics based upon reason alone and that the only solution to this metaphysics so detrimental to religion and morality is a leap of faith, that salto mortale that poor Lessing famously refused to make. Mendelssohn counters Jacobi's first contention by attempting to demonstrate the metaphysical inconsistency of Spinozism. He takes aim at Jacobi's second contention by demonstrating how the ""purified Spinozism"" or ""refined pantheism"" embraced by Lessing is, in the end, only nominally different from theism and thus a threat neither to religion nor to morality."" (SEP).The Beylagen, which are not included in the 1785 first edition and only appear with the 1789 second edition, include: I. Auszug aus Jordan Bruno von Nola. Von der Ursache, dem Princip und dem Einen (p. 261-306) II. Diokles an Diotime über den Atheismus (p. 307-327) translation of Lettre ... sur l'Athéisme by F. Hemsterhuis.‎

‎Opera ea quae ad adinventam ab ipso ertem universalem, Scientiarum Artiumque omnium breui compendio, firmaque memoria apprehendendarum, locupletissimaque vel oratione ex tempore pertractandarum, pertinent. Ut et In eandem quorumdam interpretum scripti... - [SPARKING LEIBNIZ' DREAM OF A UNIVERSAL ALGEBRA]‎

‎Argentinae (i.e Strassburg], Lazarus Zetzner, 1598. 8vo. Very nice 19th century half calf with richly gilt spine. Some browning and spotting, but overall a nice copy. Many woodcut diagrams in the text. Woodcut printer's device to title-page. (24), 992, (32) pp.‎

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‎Scarce first edition of this seminal publication, which is practically solely responsible for the spreading of both Lullism and Bruno's mnemonic theories in the 17th century. This publication constitutes the standard work on Lull for more than a century and it directly influenced the most significant thinkers of the following century, e.g. Leibnitz, whose dream of a universal algebra was stimulated by the reading of Lull (and Bruno) in the present publication.""In 1598, while the philosopher from Nola (i.e. Bruno) was in prison in Rome, Johann Heinrich Alsted together with the printer Lazarus Zetzner in Strasburg, published a great collection of the works by Raymond Lull and the most significant commentaries on Lullism, among them also some treatises by Bruno. Since then, Bruno's mnemonics was a basic component of all attempts made in the seventeenth century to set up a universal science on the basis of a theory of combinations interpreted in terms of Neo-Platonism... It was also Leibniz who was one of the first to assume similarities between Bruno's theory of the infinite and the Cartesian theory of vortices in an undetermined and infinite universe"" Leibniz had had the opportunity to read these treatises in his capacity as librarian of the Herzog August Library in Wolfenbüttel"". (Blum, p. 110). ""From another of Pierce's Lists we know that he possessed an important collection of Lullian and Lullist texts, namely the Renaissance edition by the famous Strasbourg editor Lazarus Zetzner: ""Raymundi Lulli Opera ea quae ad adinventam ab ipso Artem universalem... pertinent"" (printed first in 1598, then 1609, 1617 and, by his heirs, in 1651). This edition, which was very influential - the young Leibniz, for instance, acquainted himself with Llull through this anthology-, contains several works by Llull himself as well as those Renaissance commentaries on his works by Agrippa of Netteshein, Giordano Bruno..."" (Fidora, p. 181).This highly influential publication of Lull's ""Opera"" through which Leibniz and many of his contemporaries got acquainted with Lull and Bruno, contains seven genuine works by Lull (including the two most important works of the last period of the Art, the ""Ars brevis"" and the ""Ars magna""), four works falsely attributed to Lull, Agrippa's ""In Artem Brevem"" - and Bruno's four highly important commentaries on Lull, being the ""De Lulliano specierum scrutinio"" (pp. 685-97), ""De Lampade combinatoria Lulliana"" (pp. 698-755), ""De Progressu Logicae venationis"" (pp. 756-62) and ""De Lampade venatoria logicurum"" (pp. 763-806), which constitute Bruno's most important logical treatises and his seminal writings on mnemonics. The four treatises originally appeared separately in 1587 and 1588 respectively, and all appear here for the second time (apart from the ""De progressu"", which also appeared together with the first printing of the ""De Lampade venatoria logicorum"" the following year and here thus appears for the third time). The first printings of these works are of impossible scarcity and hardly obtainable. These four groundbreaking works appear together for the first time in the present publication and it is through this second printing of them that 17th century thinkers such as Leibniz got acquainted with them. Raymond Lull (ca. 1232-1315) was one of the most important and influential philosophers and logicians of his time. He is considered a pioneer of several fields of science, now most notably computation theory. His works sparked Leibniz' interest in the field and drove him to his seminal invention. Lull invented an ""art of finding truth"" (often in Lullism referred to as ""The Art""), which centuries later, when read in the present publication, stimulated Leibnitz' dream of a universal algebra. Lull applied this art to basically all subjects studied at the Medieval Universities. ""Lull's metaphysics worked a revolution in the history of philosophy"" (The Cambridge History of Renaissance Philosophy, p. 548). Giordano Bruno (1548-1600) is one of the most significant thinkers of modern times. He prepared the way for the rise of modern philosophy and became a forerunner of modern philosophy and science. His logical commentaries and mnemonic treatises were of special importance to the emerging logic of the 17th century and it is his version of Lullism that comes to dominate this significant strand of thought for more than a century. Having been arrested in 1592 due to alleged heresy, Bruno was subjected to a 6 year long trial that finally condemned him to hanging in 1600, two years after the publication of the four works that came to secure his influence over the following century. ""Bruno burned for philosophy"" he was killed for moral, physical, and metaphysical views that terrified and angered authorities."" (Copenhaver & Schmitt, p. 315).""By far the greatest figure of this generation was Giordano Bruno (1548-1600), whose interest in Llull dates almost exclusively from his sojurns in France and Germany. His activities in this field, which he combined with his other aspects of Reniassance philosophy, are too complex to be treated in any detail here. Suffice it to say with Frances Yates that ""the three strands of the Hermetism, the mnemonics, the Lullism are all interwoven in Bruno's complex personality, mind and mission""...""Perhaps the most important event of Lulliasm of this period was not the appearance of any new figure or work but the publication of an anthology by Lazarus Zetzner of Strasburg, entitled ""Raymundi Lullii, opera ea quae ad adinventam ab ipso Artem universalem"", which, for the next century or so, was to become the standard work on Llull. It is therefore instructive in understanding seventeenth-century Lullism... The first edition of this anthology appeared in Strasburg in 1598. It was reprinted in 1609... reprinted in 1617 and again in 1651... This mixture of Llull, pseudo-Llull, and Renaissance commentaries, emphasizing a general art of discourse, constituted the ""package"" in which Llull was presented to seventeenth-century readers, including Leibniz (note 33: it was apparently the first edition of 1598 that Leibniz read), and it must be kept in mind when discussing their version of Llull."" (Bonner, pp. 67-68). Bruno's works, the first editions of which are all of the utmost scarcity, were generally not reprinted in Bruno's lifetime and new editions of them did not begin appearing until the 19th century. For three centuries his works had been hidden away in libraries, where only few people had access to them. One very significant exception is the four treatises that we find in the present publication. They are among the only of Bruno's treatises to be published again before the 19th century, and as they don't appear again on their own, but here, in THE most important publication of Lull's writings for more than a century, it is through this second printing of these four works that Bruno comes to have his primary influence upon 17th century philosophy and science. His separate publications were simply not accessible to thinkers like Leibniz and could thus not be studied. Also therefore, Zetzners' 1598 publication of Lull and Bruno together proved to be of seminal importance, not only to the spreading of Lullism, but just as much to the spreading of Bruno's even more important theories. ""Raymond Lull (ab. 1232 - 1315), Majorcan writer, philosopher, memorycian (he was later to become a great source of inspiration for Giordano Bruno), logician, and a Franciscan tertiary. He wrote the first major work of Catalan literature. Recently-surfaced manuscripts show him to have anticipated by several centuries prominent work on elections theory. He is sometimes considered a pioneer of computation theory, especially given his influence on Gottfried Leibniz. He is also well known also as a glossator of Roman Law. Lull taught himself Arabic with the help from a slave. As a result, he wrote his ""Ars Magna"", which was intended to show the necessary reasons for the Christian faith. To promote his theory and test its effectiveness, he went to Algiers and Tunis. At the age of 82, in 1314, Lull traveled again to North Africa, where an angry crowd of Muslims stoned him in the city of Bougie. Genoese merchants took him back to Mallorca, where he died at home in Palma the following year."". (Thorndyke)Giordano Bruno was born in Nola in Southern Italy in 1548, and entered the Dominican order in Naples at the age of 18. While pursuing theological studies, he also thoroughly studied the ancient philosophers and began doubting some of the teachings of the Catholic Church. When he was in Rome in 1576, these doubts became known to the authorities of his order, and an indictment for heresy was prepared against him. Before he could be arrested, he escaped and began a long journey which took him to many European countries, among these England, where his most important works are published, until in 1592 he was denounced to the Inquisition and arrested. In 1593 he was taken to Rome, imprisoned, and subjected to a 6 year long trial. He firmly refused to recant his philosophical opinions, and in 1600 he was condemned for heresy, sentenced to death, and burned alive.SALVESTRINI NR. 1.See:Anthony Bonner: Doctor Illuminatus. A Ramon Llull Reader, 1993.Paul Richard Blum: Giordano Bruno. An Introduction, 2012.The Cambridge History of Renaissance Philosophy.Alexander Fidora: Peirce's Account of the Categories and Ramon Llull.‎

‎Martini Martini, Book on the Tour Martini / Centre Rogier, built by the architect J. Cuisinier in 1958-61‎

‎Brussel, KunstenFESTIVALdesarts / yang / kritak / SUN, 1996 Oorspronkelijk uitgevers omslag, 28 pagina's, 30 x 27 cm. Fran ais/Nederlands. ISBN 9063036833.‎

‎. Photographs by Marie-Fran oise Plissart. Texts by Eric De Kuyper and Bruno De Meulder. (Graphic design i.c.w. Hermans)‎

‎N° 24 de l'inventaire des papiers de famille dressé par mon frère Ferdinand de Bruno. Copie de lettres..‎

‎S.l., s.d. (1784) in-folio, [94] ff. n. ch., couverts d'écritures moyennes et lisibles (environ 35 lignes par page), nombreuses ratures et biffures, avec des annotations manuscrites postérieures au crayon de bois en regard de nombre de missives, donnant une idée du contenu de chacune (malheureusement, les mentions un peu sommaires de "sans intérêt" y surabondent), vélin rigide à lacets, dos lisse muet, titre général porté à l'encre sur le plat supérieur, tranches rouges (reliure de l'époque). Manque de cuir en coiffe supérieure.‎

‎Important registre de correspondance active (sous forme de brouillons) de Louis de Bruno (1739-1814), né aux Indes françaises, et qui fut introducteur des ambassadeurs auprès de Monsieur, Frère du Roi. Il regroupe 91 missives expédiées de Saint-Germain en Laye du 21 août 1772 au 20 mai-9 juin 1784, certaines fort longues et détaillées. Ferdinand de Bruno, dont le nom figure sur le plat supérieur, est Ferdinand-Marie Bruno de Molaret (1804-1882), petit-fils de Louis de Bruno, par le général Adrien-François de Bruno (1771-1861), et ordonnateur des papiers de famille.Toutes ces lettres sans exception présentent un caractère privé, ne concernent pas les fonctions officielles de l'auteur, et contiennent essentiellement des nouvelles de famille ou d'affaires personnelles, ces dernières occupant une grande place (et s'attirant les drôles de mentions de "sans intérêt" du commentateur du XIXe siècle - très probablement Ferdinand de Bruno -, qui ne s'intéressait qu'aux détails généalogiques). Incidemment, des nouvelles politiques ou militaires générales sont transmises (e.g. le lit de justice de 1774 rétablissant les Parlements ; les débuts de la Guerre de l'Indépendance américaine et ses répercussions éventuelles sur les établissements de l'Inde française), mais elles ne constituent nullement le principal contenu.Les destinataires principaux sont donc naturellement : la mère de l'auteur, une dame de Moracin par son remariage (elle mourut en 1784) ; sa grand-mère maternelle, qui mourra fin 1776 ; sa belle-mère Marie Law de Lauriston, née Carvalho (cf. infra) ; Jean Law de Lauriston (1719-1797), gouverneur général de l'Inde française de 1764 à 1777, maréchal de camp en 1780, et oncle par alliance de Louis de Bruno (il avait épousé Jeanne Carvalho, soeur de sa belle-mère).La majorité des textes concerne des nouvelles de famille (e.g. annonce de la mort de M. Léon de Moracin de Palis, en séparation de biens avec la mère de Louis, et survenue le 23 septembre 1774 ; le projet de voyage de retour en France de la mère de l'auteur, en la lettre LVII du 12 décembre 1779 ; sa fixation à l'Île Bourbon ensuite). Une grande partie des lettres s'intéresse aussi aux différends survenus très rapidement dans le ménage formé par Jeanne de Lauriston (1756-1830), fille du maréchal de camp, donc cousine de Louis de Bruno, avec Charles-Antoine de Lopès de La Fare, ainsi que la situation financière critique du couple. Par ailleurs, en 1782, plusieurs missives à sa mère fixée à Bourbon relatent l'envoi du fils aîné, Jean-Jacques de Bruno (1770-1789), dans cette île, pour parfaire son éducation auprès de sa grand-mère. Les dernières lettres (1784) concernent toutes la mort et la succession de madame de Moracin.Quelques détails cependant sur l'achat de la charge d'introducteur des ambassadeurs auprès de Monsieur pour 17 820 livres (lettres XII et XIII, des 9 juin et 16 septembre 1773).À noter aussi, la lettre XXII du 24 novembre 1774 sur les démarches faites par l'historien anglais Robertson auprès de Law pour obtenir des détails sur les campagnes de ce dernier en Inde.Enfin, la lettre LV de 16 pp. forme un petit mémoire diplomatique sans rapport avec le reste de la correspondance, mais du plus grand intérêt : "Considérations sur l'article à insérer dans le futur traité de paix pour la partie des Indes orientales" : "On avoit absolument négligé cet article dans le Traité de Paris en 1763, et quelques lignes nous avoient réduits à l'état le plus triste dans cette partie du monde à laquelle il paroît que la Cour de France n'a jamais porté l'attention que mérite son importance". Il se termine par des considérations sur l'importance de la possession des comptoirs du Sénégal et de la rivière de Gambie pour l'extension du commerce de la FranceON JOINT trois documents officiels servant à établir l'identité et la généalogie de Louis de Bruno :1. Extrait de l'acte de baptême de Maria Carvalho (24 juin 1732) , plus tard épouse de Jacques-François Law de Lauriston (1724-1767), et dont la fille Marie-Josèphe ou Joséphine épousa en 1767 Louis de Bruno. - 2. Une attestation du directeur de la Compagnie des Indes orientales en date du 9 décembre 1775 et contrôlée le 7 avril 1780, portant sur les parents et grands-parents de Louis de Bruno (respectivement Antoine de Bruno et Claude de Bruno). - 3. La copie du testament de Louis de Bruno, passé devant le notaire Denis Odiot, en date du 17 juin 1807 (la copie elle-même est datée du 3 juin 1814, et contient un codicille). Le document comporte 8 ff. n. ch. - - VENTE PAR CORRESPONDANCE UNIQUEMENT‎

‎Chemins de rencontre : l'Europe avant la lettre‎

‎Paris, Editions Hervas, 1992 Relie, couverture carton couleur argent, 305 x 215 x 20 mm., 183pp., illustration profonde en couleurs et en n/b. ISBN 9782903118754.‎

‎Collection Banque Nationale de Paris. Le livre est en excellent etat.‎

‎SHARED PASSION : An African Art Collection built in the XXIst Century.‎

‎, Mercatorfonds, 2023 HB, 310 x 280 mm, 352 pages, 300 illustraties, ENG edition, ISBN 9789462303317.‎

‎Although considered the cradle of mankind, the most recent history of the African continent has long been shrouded in mystery. Without leaving any written records, many civilizations rose and disappeared again, only leaving majestic works of art as witnesses of their greatness. Most of these forgotten cultures were only rediscovered throughout the 20th century, often by accident, and scholarship has been struggling to put the puzzle pieces of the last millennia of the African continent back together. Bruno Claessens (1983) is a passionate art expert with 15 years of ample experience in the African art market. From 2010 until 2012, he was the archivist of the Yale University-van Rijn Archive of African Art, before starting as an independent expert in African art, advisor and curator. Claessens has published three books on African art (Ere Ibeji (2013), Baule Monkeys (2016), Un - Prestigious African Weapons (2021)) and runs a popular blog on the subject since 2013. Claessens was the European director of the African art department at Christie's for 5 years. In 2021 he founded Duende Art Projects, an innovative gallery concept, wishing to strengthen Africa's visibility and significance within the art world through curated exhibitions on unique locations.‎

‎Passion Partag e Une Collection d'art africain constitu e au XXIe si cle.‎

‎, mercatorfonds - fondsmercator, 2023 Couverture reliee 352 pages HB, 310 x 280 mm,, 300 illustrations. FR edition, HB, . ISBN 9789462303324.‎

‎Bien que le continent africain soit consid r comme le berceau de l'humanit , son histoire r cente a longtemps t envelopp e de myst re. Sans laisser de traces crites, de nombreuses civilisations ont surgi pour dispara tre nouveau, avec de majestueuses oeuvres d'art comme seuls t moins de leur grandeur. La plupart de ces cultures oubli es n'ont t red couvertes que dans le courant du 20e si cle, souvent par accident, et la recherche s'est efforc e de reconstituer le puzzle des derniers mill naires du continent africain. Bruno Claessens (1983) est un expert en art passionn avec 15 ans d'exp rience sur le march de l'art africain. De 2010 2012, il a t archiviste des archives d'art africain Van Rijn l'Universit de Yale, avant de se lancer comme sp cialiste ind pendant de l'art africain, conseiller et commissaire d'exposition. Claessens a publi trois livres sur l'art africain et tient un blog populaire sur ce sujet depuis 2013. Claessens a t pendant cinq ans le Directeur europ en du d partement d'art africain de Christie's. En 2021, il a fond Duende Art Projects, un concept de galerie innovant, dans le but de renforcer la visibilit et l'importance de l'Afrique dans le monde de l'art travers des expositions organis es dans des lieux uniques. Objets anciens - F tiches de divination magiques - Anc tre spirituel - Masque c r moniel - Embl mes du pouvoir, art de cour - Soci t s secr tes - Parures Ikoko - Vie quotidienne‎

‎Jacques Garcia : A Sicilian Dream : Villa Elena‎

‎Sicily Italy, Flammarion, 2022 Hardcover, 277 pages, ENG, 360 x 275 mm, dustjacket , New !, perfect photos / illustrations in full-page colour / b/w. , Large format ISBN 9782081513518.‎

‎In southeast Sicily, near the town of Noto, Villa Elena?a former monastery restored by Jacques Garcia?is a tranquil oasis among fragrant orchards. Reflecting the interior designer?s passion for ancient civilizations, the domain blends classical, Arabian, and Norman influences with elements borrowed from the Renaissance and the baroque, mirroring Sicilian history. With views stretching to the sea and to Syracuse, the villa is surrounded by shady terraces and lush gardens. This home ? evocative of Lampedusa?s The Leopard ? has been restored to its former glory through magnificent salons decked with marble, stucco work, majolica tiles, silk, and velvet, revealed here for the first time. Bruno Ehrs?s photographs, taken throughout each season of the year, masterfully capture the decadent splendor and aristocratic lifestyle of this particularly sumptuous locale in Sicily.‎

‎MEDARD VERBURGH 1886-1957‎

‎, Centre cultural de la misericordia sala guillem mesquida 1990 ( dub), softcover jacquette d' editeur illustre en couleur, 28x23cm, 151pp. text French- SP. ISBN 8486527325.‎

‎illustre monographie ‎

‎VIDOCQ DU BAGNE A PREFECTURE.‎

‎, Paris, l' Archipel, 2001., Broche, couverture d' editeur illustre n/b, 14x22,5cm, 356pp, bon etat.‎

‎DOODGEWOON. MENSEN EN HUN DAGELIJKS LEVEN IN DE GESCHIEDENIS,‎

‎, Universiteit Antwerpen - Centrum voor Stadsgeschiedenis, 2002, softcover witte kartonomslag, geillustreerde papierwikkel, 155 x 240mm., 372pp., z/w illustratie.‎

‎Liber Amicorum Alfons K.L. Thijs. Bijdragen tot de geschiedenis 87e Jaargang - 2004. Afleveringen 1-2. ‎

‎DE SPRONG IN 'T GELUK,‎

‎Kortrijk, Koninklijke Tooneelmaatschappij De Vlaamsche Zonen, z.d. Gebrocheerd, papieromslag, 135 x 210mm., 32pp., advertenties lokale handelaars.‎

‎Vertaling van Arie Van den Heuvel. In goede staat.‎

‎In the picture. Kunst in KBC - Art in KBC.‎

‎Brussel, KBC Groep NV, 2009 Hardcover in schuifdoos, 284pp., 24.5x32.5cm., overvloedig geillustr. in kleur, als nieuw.‎

‎Met deze publicatie wordt een overzicht gegeven van zes eeuwen beeldende kunst uit de KBC-collectie alsook de hoogtepunten uit het architectonisch patrimonium. Ned. en Eng. tekst.‎

‎Carnet de route.‎

‎Belgique, Bruno De Cuyper, 2005 Softcover, 73pp., 22x22cm., ills. en n/b., bon etat.‎

‎Avec envoie de l'artist.‎

‎Rotraut.‎

‎Milano, Silvana Editoriale, 2009 Softcover, 159pp., 28x25cm., ills. in col., as new. tekst in English and Italian.‎

‎This catalogue documents the artistic journey of Rotraut both in the pictorial - with works akin to the poetics of Yves Klein, her late husband - and sculptural field. the monumental sculptures of Rotraut, constructed by means of metallic volumes and painted in monochrome colors, represent through forms of pure synthesis, simple and at the same time universal states of mind. With their joyous radiance Rotraut's sculptures irradiate the open-air settings in which they are installed, so as to form a route running through the City of Lugano from the Museo d'Arte - where her paintings are exposed - to the municipal park and Villa Ciani. Catalogue edited by Bruno Cora and Daniel Moquay, in association with the Museo d'Arte of the City of Lugano's Spring-Summer 2009 Yves Klein - Rotraut exhibition. ‎

‎Baule Monkeys. (FR.) ‎

‎BE - , mercaterfonds - fondsmercator, 2016 Hardcover with dusjacket Couverture reliee sous jaquette 192 pages | 30,5 x 23 cm | 130 illustrations | FRENCH ISBN 9789462301351.‎

‎Singes Baule ? est le premier livre dedie a ces sculptures si eloignees du canon artistique raffine et delicat des masques et effigies Baule. Ces effrayants porteurs de coupe hebergeant des forces invisibles tant malefiques que benefiques servaient leur communaute par l?intermediaire de devins. A partir d?un ensemble remarquable de statues provenant de l?Africarium Collection, cet ouvrage etudie la creation, la morphologie, et l?utilisation des porteurs de coupe dans leur contexte rituel et culturel. Produit d?une recherche extensive des textes existants et de l?observation de centaines d?objets, ce livre presente des decouvertes fascinantes, une carte originale et des photographies de terrain inedites, et illustre quinze objets de l?Africarium et quarante porteurs de coupe de collections publiques et privees. Bruno Claessens a termine ses etudes d?histoire en 2005. En 2007, il est devenu assistant de Guy van Rijn et, en 2010, archiviste des Archives Yale-Van Rijn d?Art Africain. Il gere un blog tres suivi sur l?art africain ? BrunoClaessens.com ? et est conservateur associe de l?Africarium Collection. Depuis fevrier 2016, il est directeur europeen du departement Arts d?Afrique et d?Oceanie chez Christie?s ‎

‎Belgen in oorlog. Onbekende beelden,sterke verhalen.‎

‎, Hannibal, 2012 Hardcover,157pagina's,beelden in z/w en kleur. ISBN 9789491376290.‎

‎De ontelbare oorlogen en conflicten waarbij Belgi of Belgen sinds 1830 werden betrokken lopen als een rode draad door dit boek. Fascinerende foto?s die een speciaal licht werpen op de wereldgeschiedenis zijn het uitgangspunt en brengen stuk voor stuk minder bekende oorlogsverhalen en -omstandigheden onder de aandacht. Onder leiding van historici Bruno De Wever, Martine Van Asch en Rudi Van Doorslaer brengen twintig auteurs elk een aangrijpend verhaal over onbekende beelden die iets bijzonders te vertellen hebben. Op die manier gaat Belgen in oorlog de boeiende confrontatie aan met de vraag of foto?s ooit het ware gelaat van oorlog kunnen tonen. Dit rijk ge llustreerde boek wordt gepubliceerd naar aanleiding van de gelijknamige tentoonstelling in de Gentse Sint-Pietersabdij van 16/11/2012 tot 21/4/2013. Boek en tentoonstelling werden samengesteld door Historische Huizen Gent, het SOMA (Studie- en Documentatiecentrum Oorlog en Hedendaagse Maatschappij) en het Instituut voor Publieksgeschiedenis Universiteit Gent.‎

‎100 Kindervragen - Bijen‎

‎, Stichting Kunstboek 2015, 2015 Hardcover, 64 pagina's, Nederlands, 245 x 175 mm, wetenschap voor kinderen EN hun ouders. ISBN 9789058565150.‎

‎Hoeveel honing maakt n bij? Waarom is de bijenkoningin zo bijzonder? Is het waar dat bijen sterven als ze hun angel kwijt zijn? Bijen zorgen voor honing, zoemen, kunnen steken en wonen in kasten en nesten die we liever niet te dicht in onze buurt hebben. En dan zijn er nog de imkers, die dappere mannen met hun rokende spuitbussen en vreemde pakken. Veel verder reikt de gemiddelde kennis over de bijen niet. En dat is jammer, want het zijn niet alleen bijzonder nuttige dieren - vele fruit- en groentensoorten zouden eenvoudigweg verdwijnen zonder de bijtjes - het zijn ook harde en effici nte werkers en intelligente, sociale dieren met een heuse maatschappij en ingenieuze communicatiesystemen. Wist je bijvoorbeeld dat bijen dansen? Dat hun nest een architecturaal wonder is? Dat iedere bij een duidelijke taak heeft in het nest? Dit alles en nog veel meer interessante weetjes verzamelden bezige bijtjes Bruno Remaut en Bart Vandepoele in 100 Kindervragen: Bijen.‎