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ANTWERPSE KUNSTINVENTARISSEN UIT DE ZEVENTIENDE EEUW. ( volume I).
, Brussel, Paleis der Academien, 2001., Gebonden, groen linnen, vergulde stempel en titel op de voorplat, rug versierd vergulde titel, 18,5x26,5cm, 619pp.
DEEL 11: 1680 - 1689. Fontes historiae artis Neerlandicae/ Bronnen voor de kunstgeschiedenis van de Nederlanden.
ANTWERPSE KUNSTINVENTARISSEN UIT DE ZEVENTIENDE EEUW. ( volume I).
, Brussel, Paleis der Academien, 2002., Gebonden, groen linnen, vergulde stempel en titel op de voorplat, rug versierd vergulde titel, 18,5x26,5cm, 558pp.
DEEL 12: 1690 - 1699. Fontes historiae artis Neerlandicae/ Bronnen voor de kunstgeschiedenis van de Nederlanden.
DAVID TENIERS DER ALTERE. EING VERGESSENER FLAMISCHER NACHFOLGER ADAM ALSHEIMERS.
Utrecht, Haentjen's Dekker & Gumbert, 1971 Gebunden, Original-Leinen, Deckelvergoldung, Ruckentitelvergoldung, 25.5x18 cm., 80 pp.+ 55 Abbildungen in S/W.
KLEE EN TUNISIE
Lausanne - Paris La Bibliothèque des Arts 1980 in 4 carré (26,5x24,5) 1 volume reliure toilée noire de l'éditeur sous jaquette illustrée en couleurs, 103 pages, avec de nombreuses illustrations en noir et blanc et en couleurs. Collection ''Peinture''. Très bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
Très bon Jaquette en parfait état Couverture rigide
L'ARBRE DANS LA PEINTURE ET LE PAYSAGE ENTRE 1850 ET 1920. DE COROT A MATISSE
Paris Somogy éditions d'Art 2012 in 4 (28x24,5) 1 volume broché, couverture à rabats illustrée en couleurs, 143 pages, avec de nombreuses reproductions en couleurs. Bel exemplaire
Très bon Broché
BRUEGELS GEMALDE. DIE GEMALDE PETER BRUEGELS DES ALTEREN.
Wien, Anton Schroll, 1941 Gebunden, originale Leinen Abdeckung Verlag, 29.6x34.5 cm., 36 Seiten + 84 Tafeln in Farbe und S/W + Verzeichnis der Gemalde Seiten von 41 bis 61.
PIERRE-ÉMILE BERTHÉLÉMY, 1818-1894. Peintre des rivages normands. CATALOGUE DE L'OEUVRE. Peintures, Dessins, Estampes
Paris Somogy, éditions d'art 2007 in 4 (29x25,5) 1 volume reliure cartonnée bleue de l'éditeur sous jaquette rempliée illustrée, 128 pages, avec de nombreuses reproductions en couleurs. Textes de Annick Flohic, Stéphane Mandelkern, et Frank Lehodey. Très bel exemplaire
Très bon Jaquette en très bon état Couverture rigide
Hans Düne.
Hameln, CW Niemeyer, 1987. 4°. 111 S. Mit zahlr. Abb. im Text und farb. Abb. auf Tafeln. Farbig illustr. Orig.-Pappband mit Schutzumschlag.
EBERT-SCHIFFERER Sybille, EMILIANI Andrea & SCHLEIER Erich (hrsg.)
Reference : S85335
(1988)
Guido Reni und Europa. Ruhm und Nachruhm (1575-1642)
Frankfurt, Schirn Kunsthalle 1988 822pp.with numerous illustrations in colour and in bl/w, 29cm., hardcover, dustwrapper, Exhibition catalogue (Schirn Kunsthalle, 2. Dezember 1988 - 16.Februar 1989), very good, S85335
KUNSTURTEILE DES 19. JAHRHUNDERTS.
, Munchen, Bruckmann, 1983., Brosschiert, Original-Umschlag illustriert s/w, 15x23cm, 191pp, illustriert koloriert und s/w. ISBN 3765418641.
Pantheon Colleg. Zeugnisse - Manifest. Kritiken zur Munchner Malerei. Inhalt: Das Erhabene und die Natur, Ideal und Idee, Naturempfinden und Beobachtung, Farbe und Theatralik, Wirkung und Umbruch.
Manuscript Illumination in Lyons (1473-1530)
Turnhout, Brepols, 2002 Hardback, 210 p., incl. 5 colour + 208 bl/w. ills., 190 x 250 mm. ISBN 9782503512327.
This book surveys the art of manuscript illumination after the introduction of printing to Lyons in 1473, using the manuscripts themselves as its main source, and thus identifying and assessing the art of Lyons? busiest illuminators? workshops. In the late fifteenth and early sixteenth centuries, Lyons grew into one of Europe's great commercial centres and even served as an unofficial second capital of the French kingdom. While scholars have long recognized the city's prominent role in the history of printing, this is the first book to survey the art of manuscript illumination after the introduction of printing to Lyons in 1473. Using the manuscripts themselves as its main source, this study identifies and assesses the art of Lyons's busiest illuminators' workshops. It then reviews the nature of patronage and the activity of the illuminators during the close of the Middle Ages and the dawn of the Renaissance. The picture that emerges is one of a tightly knit community of artists adapting their production of fine religious and secular manuscripts to the changing demand of the clergy, the merchant class, the nobility, writers, and members of the court. A descriptive catalogue provides complementary information on 136 illuminated manuscripts, books, and leaves, many of them never published at length. The work is illustrated by a broad selection of colour and black-and-white reproductions. Languages: English.
(Doppelmaster).
ca. 1930. Farbiges Aquarell. 18 x 10 cm.
Mit Bleistiiftmarkierung oben links VIII.
Landschaft, im Vordergrund zwei Menschen auf einer Bank.
1934. Ölgemälde. 90 x 64 cm.
In Holzrahmen. Unten rechts monogrammiert.
Phone number : 41 (0)44 261 57 50
(Landschaft mit vier Birken).
1937. Ölgemälde. 60 x 50 cm.
Unten rechts monogrammiert und datiert. In Holzrahmen.
Felsina Pittrice: The Lives of the Bolognese Painters , Carlo Cesare Malvasia Felsina Pittrice: Life of Marcantonio Raimondi and Critical Catalogue of Prints by or after Bolognese Masters in 2 volumes
, Brepols - Harvey Miller, 2017 Hardback, 2 volumes ., 844 pages ., 33 b/w ill. + 877 colour ill., 220 x 280 mm, Languages: English, Italian. ISBN 9781909400665.
Malvasia's life of Marcantonio Raimondi includes Malvasia's critical catalogue of prints by or after Bolognese artists, from Giulio Bonasone to Giovan Battista Pasqualini. A great connoisseur and avid collector of prints, Malvasia recognizes the intelligence and novelty inherent in Giorgio Vasari's life of Marcantonio with its list of prints produced by the Bolognese engraver. In republishing Vasari's life, Malvasia not only adds valuable new information, but also completes Vasari's list by cataloguing all the prints unnoticed by his Florentine predecessor. Aware of the interest of amateurs and collectors in identifying old and new prints, establishing their states, and building up an exhaustive collection, Malvasia undertakes the groundbreaking task of describing, one by one or by coherent series, the whole corpus of prints executed by or after Bolognese masters as far as he could determine. He describes the subjects of these works accurately, transcribes their inscriptions, specifies their techniques (whether engraving, etching, or woodcut), supplying their measurements in Bolognese once. In listing the works of Bonasone, the Carracci, Giovan Luigi Valesio, Guido Reni, and Simone Cantarini, among others, Malvasia often comments on their technical and aesthetic qualities, resorting to a refined and complex terminology that reveals his profound knowledge of printmaking. In her introductory essay, Naoko Takahatake explains the historical significance of Malvasia?s innovative production of the first extensive print catalogue, shedding new light on the unique context of Bolognese printmaking in the sixteenth and seventeenth centuries. In her notes, Takahatake identifies over eight hundred prints mentioned by Malvasia, almost all of which are reproduced in color in a separate volume. Underscoring the importance of Malvasia?s critical catalogue for amateurs and collectors, Carlo Alberto Girotto offers a critical edition of the annotations made by the French art theorist Roger de Piles to his own copy of the Felsina pittrice (now in the library of the Institut National d?Histoire de l?Art, Paris). At the end of the translation and notes, Lorenzo Pericolo publishes the sections of Malvasia?s Scritti originali (Ms. B16, Biblioteca Comunale dell?Archiginnasio, Bologna) relating to Bonasone. Review "Overall, the volume is an excellent critical edition, based on accurate philological criteria, and should be considered a milestone for non-Italian speakers who wish to familiarize themselves with Felsina pittrice, a truly essential seventeenth-century text in the Italian and European scenario that provides a wealth of historiographical information and reflections useful for the development of multiple avenues of research." (Marzia Faietti, in: Print Quarterly, XXXV, 2018, 4, p. 469-470)
Early Bolognese Painting, Felsina Pittrice: Volume I:
Turnhout, Brepols, 2012 Hardback, XXVI+536 p., 7 b/w ill. + 150 colour ill., 220 x 280 mm. ISBN 9781905375844.
This richly illustrated volume provides a translation and critical edition of the opening part of the Felsina pittrice, which focuses on the art of late medieval Bologna. The text is unusual in the context of the Felsina pittrice as a whole in that it seeks to record what survives in the city, rather than focusing on individual artists. In response to Vasari?s account of the Renaissance of painting in Florence, Malvasia offers a colorful and valuable portrait of Trecento painting in Bologna, noting the location and condition of destroyed or whitewashed frescoes, dismantled polyptychs, and paintings for which no other record survives. Malvasia provides crucial information on works by important fourteenth-century painters such as Lippo di Dalmasio, Simone dei Crocefissi, and Vitale da Bologna. Included in the volume are historical notes to the text and to the transcriptions of the Scritti originali, published here in their entirety for the first time. The notes enrich our understanding of individual works and identify the sources Malvasia used. Elizabeth Cropper?s introductory essay serves to establish the significance of Malvasia as a historian of art, while Carlo Alberto Girotto?s bibliographical essay analyses the production and reception of the Felsina pittrice as a whole. Language : English, Italian.
LEON SPILLIAERT 1881 - 1946.
Antwerp, Ministry of the Flemish Community, 1982 softcover, NL pictorial cardboard cover in colour, 17x24 cm., 72 pp., profoundly illustrated in colour and b/w.
In good condition.
LEON SPILLIAERT 1881 - 1946. English
Antwerp, Ministry of the Flemish Community, 1982 softcover, pictorial cardboard cover in colour, 17x24 cm., 72 pp., profoundly illustrated in colour and b/w. text in ENGLISH
In good condition.
Piero della Francesca,
IT, Silvana , 2012 Hardback, 230x280mm, 240 pages , 150 colour illustrations, English edition. ISBN 9788836624638.
This monograph is dedicated to one of the greatest Italian masters, Piero della Francesca (San Sepolcro 1416/1417 approx. - 1492), whose towering multifaceted genius dominates the entire artistic and cultural panorama of the early Italian Renaissance. Each work, from the Baptism of Christ to the Nativity at National Gallery in London, is presented with full-page images and is analysed in depth from the historical point of view, as well as for its style and considering its critical fortune during the centuries. A specific focus is on the magnificent cycle of frescoes of the Legend of the True Cross, in the Basilica of San Francesco in Arezzo, which is considered as Piero's masterpiece. The author of the book, in charge of a conservation and restoration project of the Chapel, presents in her study the results of the conservation work on half of the painting surface, completed with the images of the frescoes after their cleaning. This book is intended as a compact up-to-date guide for readers wishing to find out more about one of the greatest artistic geniuses of all times, who was numbered among the greatest artists of his time and highly praised by his contemporaries, beginning with Vasari in the Life that he dedicated to the artist of excellence from Sansepolcro.
Edited by Bawag Contemporary, texts by Christine Kintisch, graphic design by Kim Beirnaert ;
Reference : 38672
Michael Borremans, Magnetics,
GE, Hatje Cantz , 2012 Paperback, 110x162mm, 60 pages, 16 colour illustrations, only English edition. Fine conditon ISBN 9783775735018.
Originally trained as a photographer and graphic designer, Belgian artist Michael Borremans (*1963 in Geraardsbergen) has made a name for himself with absurdly ominous and enigmatic works of art. This publication presents a unique selection of a dozen paintings in a revealing text and significant pictures. The artist's paintings are closely intertwined with his other drawings, and films. Borremans operates in an area bordered by all the various media. His scenarios are full of references and allusions that afford viewers a variety of possible interpretations while resisting being joined together to form a definitive whole. What are actually mutually exclusive elements, such as realism and fantasy, the ephemeral and the manifest, irony and confusion, are closely interwoven in his visual worlds, and there is only a fine line between a recognizable, everyday reality and a bizarre dream world.
Edited by: Friedman Benda, Texte von David Anfam, A.M. Homes, Gestaltung von Dan Miller Design;
Reference : 38673
Koen van den Broek. Insomnia and the Greenhouse,
GE, Hatje Cantz , 2012 Hardback, 245x305mm, 100p, 44 colour illustrations, English edition . ISBN 9783775734783.
The paintings of Koen van den Broek (*1973 in Bree) draw attention with their genuine, unique perspectives and range of perceptual possibilities. The artist wanders the surface of the world, finding visual inspiration on the peripheries of the city, on insignificant facades, empty highways, closed garages, lofty viaduct pillars, and desolate curbsides. Using his own photographic diaries of trips throughout America, Asia, and Europe as source material, van den Broek turns layered visual experience into compelling oil paintings on canvas. The compositions are vaguely familiar, but brushstroke and paint texture re-create, re-imagine and invent new realities. This publication presents the conflation of two exemplary projects: a monumentally-scaled series of paintings from the Insomnia cycle, painted in Antwerp, and a smaller, intimately nuanced group of paintings of the Greenhouse, created by the artist during a residency in the Williamsburg neighborhood of Brooklyn. Exhibition schedule: Friedman Benda, New York, starting 2013 | other stations TBA.
MACRINO D'ALBA
, Savigliano, Editrice Artistica Piemontese,, 2000 Bound, red cloth, 228 pagine; edizione Italiana; 320 x 245 x 22 mm, buono come nuovo ; sovraccoperta illustrata ; illustrazioni a colori/b/n. ISBN 9788873200277.
Macrino (a nickname that seems to describe his slim physique), born in Alba in about 1470, was unusual for a Piedmontese artist. He owes his early critical notoriety to the fact that an important painting he produced is still to be found in the Capitoline Museums, where he was promptly interpreted as a follower of the Tuscan and Umbrian Renaissance. In point of fact, Macrino had a modern Tuscan-Roman background, owed to Pinturicchio but also with local and Lombard influences. In this sense, the debate regarding his journey or journeys to Rome is not especially pertinent. His works were usually signed and dated, making it easy to attribute to a painter otherwise little known in documents and sources the Virgin with Child, Saints James, John the Evangelist, John the Baptist, and Thomas Aquinas, and Two Donors (Turin, Municipal Museum of Antique Art); the Virgin and Child with Saint Bernard of Clairvaux and the Donor (Annibale Palaeologus), and Saint John the Baptist (Tortona, Bishop?s Palace); Virgin and Child with Saints Francis and Thomas Aquinas, Angels and Two Female Donors (Alba, Town Hall); Virgin and Child with Saints James, John the Baptist, Augustine and Jerome (Treasury of the sanctuary of Crea)
RETROSPECTIVE THEO VAN RYSSELBERGHE
, Gent, Museum voor Schone Kunsten, 1962., Softcover, geillustreerde papieromslag, 17x24cm, 78pp .
Catalogus bij de gelijknamige tentoonstelling die liep van 1 juli tot 16 september 1962. Goede staat.
