6589 books for « g bruno »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.‎

‎Dynastie Wolfers 1850 - 1958, Van Art Nouveau tot Art Deco.‎

‎, Antwerpen, Pandora, 2006, Hardback, 97x245mm, 496 pagina's, 70 col.ill Dutch (NL) edition. ** NIEUWSTAAT*** ISBN 9789053252765.‎

‎Aan het einde van de 19de eeuw tot het midden van de 20ste eeuw was Wolfers een begrip. De naam stond synoniem voor luxe, kwaliteit en hoogstaande artisticiteit van Belgische origine. De firma Wolfers, producent van zilverwerk en juwelen, werd in 1850 in Brussel opgericht door Louis Wolfers. Vooral onder het beleid van zijn zonen Philippe, Max en Robert kon de zaak zich internationaal profileren en verwierf zij belangrijke afzetmarkten in West- en Midden-Europa. De objecten in art-nouveaustijl die door Philippe Wolfers werden ontworpen, waren het onderwerp van lofbetuigingen vanwege de belangrijkste kunstcritici. Zijn unieke art-nouveaujuwelen werden getoond in heel Europa en de naam van Philippe Wolfers evenaarde die van de Fransman Rene Lalique. Niemand minder dan Victor Horta ontwierp het schitterende winkelpand van de zaak, die daarmee haar ambities kracht bijzette. Daar waar voor veel kunstenaars de art-nouveauperiode een eindpunt betekende, wist Philippe Wolfers via de beeldhouwkunst op perfecte wijze te evolueren naar de art deco. Gioconda, het interieur met toebehoren dat hij ontwierp voor de internationale tentoonstelling van decoratieve kunsten in Parijs in 1925, werd legendarisch.Na het overlijden van Philippe in 1929 volgde zijn zoon Marcel hem op als artistiek directeur. Naast het nieuwe elan dat Marcel de onderneming van luxeproducten gaf, profileerde hij zich als een begenadigde beeldhouwer en een begaafde lakkunstenaar. Naar het voorbeeld van zijn vriend Jean Dunand blies hij deze eeuwenoude Aziatische techniek nieuw leven in.Dit rijkelijk geillustreerde boek is het resultaat van jarenlang onderzoek. De auteurs kregen de gelegenheid om het volledige familiearchief te raadplegen. Naast wetenschappelijke bijdragen omvat het ook de beredeneerde catalogus van de oeuvres van Philippe en Marcel Wolfers. nieuw boek.‎

‎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)‎

‎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 9788486527327.‎

‎illustre monographie ‎

‎VIDOCQ DU BAGNE A PREFECTURE.‎

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

‎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 ‎

‎Souvenirs et anecdotes de M/O de Bruno..‎

‎S.l., s.d. 7 parties in-folio, [29] ff. n. ch., en feuilles. ‎

‎Intéressant ensemble de notes transcrivant des souvenirs épars du général Adrien-François de Bruno (1771-1861), qui s'illustra pendant les guerres napoléoniennes, et en particulier au service du roi Louis Bonaparte en Hollande (1806-1810).On n'a pas affaire ici à une narration continue, mais à une suite d'épisodes sans lien, correspondant à diverses périodes de la vie de Bruno, et regroupés sous quelques têtes de chapitres (que nous transcrivons plus bas). En bref, des matériaux pour un projet de rédaction sans doute plus important, mais qui n'a pas vu le jour. L'écriture est régulière, moyennement lisible, comportant de nombreuses ratures et biffures. L'examen de détail ne peut faire exclure des enjolivements rétrospectifs et des confusions de date (e.g. il est malaisé de rattacher exactement la mission de Saint-Just et Lebas du III avec un commandement précis de Kléber ; l'anecdote du IV ne peut se placer en cohérence avec ce qui est raconté de l'engagement de Bruno en II, etc.). Probablement, le général était fort âgé quand il dicta ces notes, car il est certain qu'il ne les rédigea pas lui-même, comme le fait savoir l'introduction du VII : "Peu studieux dans son enfance, aimant désordonnément le plaisir , le mouvement et les émotions d'une vie aussi agitée qu'active, M/O n'avait jamais eu le goût de la plume et sa répugnance pour l'écriture avait fini par devenir telle que souvent il négligeait les affaires les plus importantes, faute de pouvoir se décider à mettre de l'encre sur une feuille de papier". Dans ce contexte, la mention M/O que l'on rencontre aux titres de plusieurs de ces souvenirs ainsi qu'au titre général semble signifier "mon oncle", ce qui signifierait que le secrétaire était un des enfants ou petits-enfants de sa soeur Marie-Blanche de Milanges (cf. infra). C'est lui qui suggéra à Bruno de rédiger des mémoires, selon la vogue qui poussait les acteurs de la période napoléonienne à coucher par écrit leurs exploits.On a donc, par ordre chronologique :I. Famille et naissance de M/O : [2] ff. n. ch. "Ma famille est originaire d'Allemagne. J'ignore par quel concours de circonstances, il se fit que l'un de mes ayeux alla s'établir à Naples. Il y mit au monde trois fils qui se dispersèrent de divers côtés. L'un se fixa en France, l'autre en Savoie, le troisième passa aux Indes orientales et s'établit à Chandernagor dans les possessions françaises". C'est ce dernier fils, Antoine de Bruno (1708-1757), qui est le grand-père du narrateur ; il serait mort décapité au cours d'une guerre interne à la Birmanie. Son fils unique, Louis de Bruno (1739-1814) eut à son tour trois enfants de son mariage avec Marie-Josèphe Law de Clapernon, parente de Law de Lauriston, dont le dernier est notre narrateur, Adrien-François de Bruno (né le 10 juin 1771 à Pondichéry). Quand ce dernier approcha ses cinq ans, ses parents décidèrent en 1776 de revenir se fixer en France.II. Fuite en Auvergne, arrestation, entrée au service : [8] ff. n. ch. "Mes parents me destinant au service militaire, aussitôt que je fus engagé, on me mit à l'École d'artillerie de La Fère. J'étais aspirant d'artillerie quand la révolution de 1789 éclata. Mon frère aîné [Jean-Jacques de Bruno, 1768-1790] était déjà au service avant moi et officier dans le régiment de hussards de Lauzun lorsque ce régiment, travaillé par l'esprit révolutionnaire, se révolta contre ses officiers et les massacra. Mon malheureux frère fut au nombre des victimes". À la suite de ces événements, le père d'Adrien le retira de La Fère et toute la famille quitta Paris pour se réfugier en Auvergne, dans la propriété de la soeur d'Adrien, Marie-Blanche, qui avait épousé Amable de Milanges (1765-1818) et habitait une propriété sise entre Gannat et Aigueperse. Imprudent dans ses paroles, le jeune Adrien fut bientôt recherché dans la région comme contre-révolutionnaire exalté : caché dans les bois de Randan, il fut rapidement convoyé vers la Vendée où il pensait s'engager dans les rangs des insurgés. Mais, dénoncé par une servante suspicieuse au comité local, il fut incarcéré et ne dut son salut qu'à son engagement dans la Légion de la Nièvre, qui alla bientôt servir à Landrecies. Rien n'est dit de l'engagement ultérieur du jeune homme dans la cavalerie du 4e Régiment de Hussards, où il commença réellement sa carrière militaire (en septembre 1793).III. Anecdote du général Kléber : [2] ff. n. ch. "On sait que le général Kléber, au milieu des grandes qualités qui le distinguaient, avait la manie d'affecter les manières et le langage des soldats républicains d'alors et de ne parler que par F... et par B..., suivant la mode d'alors". Suit une conversation salée que Kléber aurait eue à un dîner en compagnie des conventionnels Saint-Just et Philippe Lebas, représentants en mission auprès de l'Armée du Nord (avril 1794), et qui portait sur la difficulté de prendre la parole devant la Convention nationale.IV. Anecdote de Taupin, soldat de Bercheny : [5] ff. n. ch. "C'était en 1793, au milieu de la Terreur ; j'étais dans le Régiment de hussards de Bercheny, caché sous un nom supposé, et simple soldat après avoir été officier d'artillerie. Notre régiment ainsi que tous les régiments de hussards qui dataient d'avant la Révolution, était à peu près entièrement composé d'Allemands et le peu de Français qui s'y trouvaient étaient l'objet de la jalousie, de l'animadversion ou des vexations de leurs camarades d'origine différente". Où le jeune soldat Bruno prend la défense d'un bûcheron de la Nièvre enrôlé dans le corps et qui servait de souffre-douleur aux soldats allemands.V. Les magistrats de Soleure : [6] ff. n. ch. "Pendant la campagne de Suisse de l'année 179.., j'étais déjà major et je commandais par intérim le 12e Régiment de Hussards, ci-devant Bercheny. Le général Ney (plus tard maréchal) m'avoit envoyé pour occuper la ville de Soleure et avoit placé sous mes ordres, outre mon régiment, un bataillon d'infanterie. Je me trouvai donc en quelque sorte chef d'un corps d'armée et telle était alors la terreur inspirée par le nom français dans le pays que, lorsque j'entrai dans la ville, toutes les autorités vinrent au devant de moi, l'avoyer en tête, en protestant de leur dévouement à la France, ainsi que de leur empressement à faire tout ce qui pourrait m'être agréable". Suit un long exposé du traitement alternativement hautain et servile des autorités municipales en fonction respectivement de l'effacement ou de la rigueur des manières employées à leur égard.VI. Les bouts de chandelle : [4] ff. n. ch. Il s'agit d'une anecdote sur Louis Bonaparte, alors Roi de Hollande (Bruno était devenu devient en juillet 1806 aide de camp de Louis Bonaparte, fut nommé colonel en septembre 1806, puis général major en avril 1807, enfin en novembre 1808, lieutenant-général et grand écuyer de la couronne). "Au milieu de ses bizarreries, de ses petites méchancetés et de ses faussetés, le Roi Louis avait cependant quelquefois des accès d'indulgence et même de générosité. En voici une preuve qu'il me donna dans une circonstance assez grave. Je revenais de la mission difficile et même périlleuse qu'il m'avait confiée en 1808 pour le Roi de Danemark". Paraissant à moitié ivre devant le Roi, et rabâchant une opposition à un projet d'économies qualifié d'"économies de bouts de chandelles", il ne fut cependant pas sanctionné.VII. M/O à Waterloo : [2] ff. n. ch. Après une longue introduction sur la répugnance du général à écrire, surtout pour se mettre en avant, suit une brève anecdote sur une charge à la tête de sa brigade de cuirassiers à Waterloo, qui fut par erreur attribuée au général Milhaud.ON JOINT : Arbre généalogique de la famille de Bruno (un dépliant in-folio de 41 x 52 cm). - - VENTE PAR CORRESPONDANCE UNIQUEMENT - LIEN DE PAIEMENT, NOUS CONSULTER.‎

‎Mélanges. - Lettres d'affaires ou sans intérêt [sic]. Livre de copies de lettres..‎

‎S.l., s.d. (1812) in-folio, [53] ff. n. ch., couverts de graphies moyennes, généralement lisibles (environ 40 lignes par page), avec des ratures et des biffures, 29 ff. demeurés vierges, il manque un ou plusieurs feuillets entre les ff. 16 et 17 (avec saut du 16 décembre 1785 au 24 mars 1787), et 3 ff. volants (les lettres LVIII et LIX des 6 et 7 septembre 1811), vélin rigide à rabat antérieur, avec double lacet de fermeture, dos lisse muet, titre poussé à l'encre sur le plat supérieur (reliure de remploi). Salissures et petits essais de plume sur les deux plats.‎

‎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 71 missives expédiées de Saint-Germain en Laye du 1er juillet 1784 au 4 août 1812, soit peu de temps avant la mort de l'auteur.La grande majorité de ces lettres ont pour objet les affaires et intérêts de Louis de Bruno, puis de son fils Adrien (le futur général, 1771-1861), soit à Pondichéry, soit à l'Île-de-France (Maurice). Aussi, les destinataires sont-ils principalement des hommes d'affaires ou des chargés de pouvoirs, certains amis ou parents de l'auteur : Blin de Grincourt, exécuteur testamentaire de la mère de Bruno, madame de Moracin, morte en 1784 à l'Île Bourbon ; Jean-François de Moracin (1737-1796), commissaire général de la Compagnie des Indes faisant fonction d'intendant de Pondichéry, Pierre-Léon de Moracin ; Jean-Chrysostome-Janvier Monneron (1754-1811), armateur à l'Île-de-France, Augustin Monneron, négociant à New York (1756-1826), et leur frère aîné Charles-Claude-Ange Monneron (1735-1799), nommé commissaire-ordonnateur des établissements français de l'Inde de 1784 à 1786 ; Louis-Maurice Dominjod (écrit Domenjod), établi à Bourbon et recevant procuration pour les biens sis dans cette île ; Folleville, également à l'Île-de-France, puis chargé d'affaires à Bourbon. On notera également la présence de cousines de Bruno, parties prenantes de la succession de sa mère : madame de Lasalle, résidant à Pondichéry ; mademoiselle Pignolet, résidant à Bourbon. Toutes ces familles sont par ailleurs bien connues dans l'histoire des possessions françaises de l'Océan Indien.Et c'est cette succession complexe de la mère de Louis de Bruno qui ouvre le recueil et occupe d'ailleurs entièrement les lettres I-XVII du 1er juillet 1784 au 16 décembre 1785. L'année 1789 ne comprend que deux lettres : une du 22 janvier à Dominjod, et ne portant que sur un état de fonds ; plus intéressante, une du 24 décembre à Blin de Grincourt, fort longue, et contenant une longue relation et appréciation des événements politiques : "Comment dans l'espace d'une lettre pourrois-je vous donner un abrégé des événemens multipliés qui se sont passés depuis 9 à 10 mois ?" Suit un résumé très correct de la crise financière et de ses suites. Enfin, après une dernière missive à Dominjod du 15 décembre 1790, il n'y a plus rien jusqu'à la reprise de la correspondance en 1802. L'interruption due au déroulement de la Révolution s'explique en partie par la résidence de l'auteur au domicile de sa fille en Auvergne, dans la propriété de Marie-Blanche de Bruno, qui avait épousé Amable de Milanges (1765-1818) et habitait un domaine entre Gannat et Aigueperse ; elle doit aussi tenir à la prudence nécessaire à un ancien courtisan de Monsieur en ces temps légèrement troublés ...À partir de la lettre XXIII du 8 Brumaire an XI [30 octobre 1802], reprennent les correspondances d'affaire pour l'Île-de-France et Bourbon, avec sa cousine de Pignolet (morte en 1804), Louis Léger (1748-1813), préfet de l'Île-de-France de 1803 à 1810, cousin de l'auteur par les Carvalho, et Auguste Vernety, nouveau procureur de ses intérêts. Toujours Bruno entre dans d'infinis détails et se montre vigilant et perspicace sur l'emploi de ses ressources ; le paragraphe suivant, compris dans la lettre XXV à Vernety en donnera un exemple : "La paix ne me paroît pas prochaine, et quelque besoin que j'aie de mes fonds, je vous prie de ne pas les risquer. J'aime encore mieux pâtir ici que de les perdre ou du moins de les avanturer. Il y a trois écueils que je vous prie d'éviter : c'est de le les expédier en caffé, sur des vaisseaux américains neutres, ou en lettres de change sur France fournies par un colon, quelque crédit qu'il ait, et enfin de les verser dans la caisse publique, pour m'être payé ici par le gouvernement. Cela vous paroîtra extraordinaire, sans doute, mais j'ai trop d'expérience pour ne pas connoître les grands dangers de ces sortes d'envoi. Je n'excepte de tout cela que M. Henri des Bassayns [Henri-Charles Panon Desbassayns, 1772-1751], s'il tire sur son frère M. Desbassayns, et M. Léger, s'il tire en son nom sur celui qui est icy chargé de ses affaires".Enfin, la succession de sa cousine de Pignolet, dont il était très proche, occupe les lettres XXIX-XXXII à madame Du Morier, légataire de cette dernière, ainsi que plusieurs missives aux négociants lorientais Ferrand et Lazé. Les dernières correspondance accusent la vieillesse désormais avancée de Louis de Bruno : outre une graphie de plus en plus irrégulière, un aveu sans ambages de la lettre LXX (8 juillet 1812) éclaire la situation de ces ultimes années ("J'ai reçu hier au soir, mon cher Moracin, votre lettre du 6 de ce mois. Elle exigeroit plusieurs réponses, et je n'en puis faire qu'une à la fois, comme indépendamment de la foiblesse de ma tête, je manque aussi de mémoire"). Et la lettre LXXI à Folleville, qui venait de perdre sa femme, est la dernière du recueil.A ÉTÉ RELIÉE entre les ff. 43 et 44 : une L.A.S. de Mme Pignolet du Morier en date du 25 décembre 1809, sur le règlement d'un litige avec Philippe Desbassayns [Philippe Panon Desbassayns, comte de Richemont, 1774-1840]. - - VENTE PAR CORRESPONDANCE UNIQUEMENT - LIEN DE PAIEMENT, NOUS CONSULTER.‎

‎Rubine, tome 15 : Midway. ( Tirage spécial à 1000 exemplaires, embossé " Tirage limité " avec un ex-libris, encarté en frontispice, signé par Mythic et Bruno Di Sano + un marque-page + un ex-libris signé par Mythic et Bruno Di Sano + un magnet collector de 10 cm de diamètre + un magnifique dessin original en noir, signé de Bruno Di Sano ).‎

‎ Editions du Tiroir 2023. In-4 cartonnage éditeur de 48 pages au format 29 x 22 cm. Couverture illustrée alternative. Dos carré. Plats et intérieur frais. Dessins en couleurs de Bruno Di Sano sur scénario de Jean-Claude Smit-le-Bénédicte dit Mythic, d'après les personnages créées par François Walthéry. Un des 1000 exemplaires du tirage spécial, embossé " Tirage limité ", contenant un ex-libris, encarté en frontispice, signé par Mythic et Bruno Di Sano + un marque-page + un ex-libris signé par Mythic et Bruno Di Sano et un magnet collector de 10 cm de diamètre. Etat de neuf. Rare édition originale sous cette forme. Epuisé. Précieux exemplaire enrichi d'un magnifique dessin original en noir, signé de Bruno Di Sano, sur feuille volante.‎

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‎ Vente exclusivement par correspondance. Le libraire ne reçoit, exceptionnellement que sur rendez-vous. Il est préférable de téléphoner avant tout déplacement.Forfait de port pour un livre 10 € sauf si épaisseur supérieure à 3 cm ou valeur supérieure ou égale à 100 €, dans ce cas expédition obligatoire au tarif Colissimo en vigueur. A partir de 2 livres envoi en colissimo obligatoire. Port à la charge de l'acheteur pour le reste du monde.Les Chèques ne sont plus acceptés.Pour destinations extra-planétaire s'adresser à la NASA.Membre du Syndicat Lusitanien Amateurs Morues‎