‎Santhori.‎

‎Zurzach, Selbstverlag, 1998. 4°. 94 (2) S. Mit meist farbigen Abb. Farb. illustr. Pappband.‎

‎Mit handschr. Widmung und Originalskizze von Thomas Santhori «Von Herrn Beni Scheuber – Zur Neueröffnung von NIVOBÜRO speziell Frau Sommer und dä Herr Müller».‎

‎RIPOLLES catalogue GB Gallery *****SIGNED ‎

‎Brussels - Antwerp, BP gallery, 1985 Original publishers paper-covered boards, 20 pages, illustrated. Text in FR /NL.‎

‎*******with an original drawing of RIPOLLES and signed. 1985‎

‎Michel Ange. Peinttre sculpteur architecte ‎

‎ Plurigraf Plurigraf Italia 1980, petit In-4 broché, couverture illustrée, non paginé. Nombreuses reproductions noir et blanc et 104 en couleurs. Bon état.‎

‎ Toutes les expéditions sont faites en suivi au-dessus de 25 euros. Expédition quotidienne pour les envois simples, suivis, recommandés ou Colissimo. ‎

‎Credibilità che.‎

‎St. Gallen, Erker Presse, 1982. Farblithographien. Bildgrösse: 34 x 25 cm. Blattgrösse: 64 x 47 cn,‎

‎N°. I von L. 4 Blatt aus der Portfolio-Mappe "Credibilità che" (Andrea Zanzotto). In Leinenmappe. - Sehr gut erhalten.‎

‎LISBON - A GUIDE TO RECENT ARCHITECTURE - INTRODUCTION / USING THIS BOOK / BAIXA TO CHIADO / RESTAURADORES TO PARQUE EDUARDO VII / AMOREIRAS TO CAMPOLIDE / ALGES, BELEM AND SANTO AMARO / SALDANHA TO ARIEIRO / CIDADE UNIVERSITARIA / BENFICA / ETC.‎

‎KONEMANN / ELLIPSIS. 1998. In-16. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 235 pages augmentées de nombreuses illustrations en noir et blanc dans et hors texte -. . . . Classification Dewey : 720-Architecture‎

‎OUVRAGE EN ANGLAIS // SOMMAIRE : INTRODUCTION / USING THIS BOOK / BAIXA TO CHIADO / RESTAURADORES TO PARQUE EDUARDO VII / AMOREIRAS TO CAMPOLIDE / ALGES, BELEM AND SANTO AMARO / SALDANHA TO ARIEIRO / CIDADE UNIVERSITARIA / BENFICA / ETC. Classification Dewey : 720-Architecture‎

‎Les ermites du Valais. Extr. de Vallesia t. XLIII, Sion 1988.‎

‎Longeborgne, 1988, lg. in-4to, 103 p. + 4 ff., + 1 carte ms. de l’auteur à Mons. le Pasteur J.-Fr. Deppierraz, 1989, brochure originale illustrée.‎

‎MONASTERE DE SAINT-JEAN LE THEOLOGIEN. GUIDE HISTORIQUE ET ARCHEOLOGIQUE.‎

‎MONASTERE DE SAINT-JEAN LE THEOLOGIEN, PATMOS. 1977. In-8. Broché. Etat d'usage, Couv. légèrement passée, Dos satisfaisant, Intérieur frais. 61 pages. Couverture rempliée illustrée en couleurs. Nombreuses photos et illustrations en couleurs et noir et blanc dans et hors texte.. . . . Classification Dewey : 720-Architecture‎

‎ Classification Dewey : 720-Architecture‎

‎Saint-Bertrand-de-Comminges.-‎

‎Centre touristique d'Art et d'Histoire. 165 illustrations. Toulouse. Douladoure. 1954. Gd in-8 br.96pp.‎

‎Visite des Fouilles, du Musée, de la Cathédrale, de l'Eglise St-Just et des Grottes de Gargas. ‎

‎Saint-Bertrand-de-Comminges.-‎

‎Reflets de 20 siècles. Études et Documents. Centre touristique d'Art et d'Histoire. 300 illustrations commentées et hors-textes. Toulouse. Douladoure. (1965). Gd in-8 br.144pp.‎

‎La cathédrale (Arts Roman, Gothique et Renaissance). Le Musée (Arts Préhistorique et gallo-romain). Les Chantiers de Fouilles (Édifices gallo-romains et tombeaux mérovingiens). ‎

‎Bourgogne romane.‎

‎ Reliure toile de l'éditeur sous jaquette, 29X22 cm, 2007, 311 pages, nombreuses photos en couleurs, itinéraires romans, éditions Faton. Très bon état.‎

‎La Bourgogne Préromane. Construction, décor et fonction des édifices religieux.‎

‎Paris, Picard, 1986, gr. in-8vo, 310 p., richement ill. n./b., reliure en toile originale avec jaquette ill.‎

‎Interieur Design Biennale Since 1968.‎

‎, MER Paper Kunsthalle, 2010 Hardcover with 4 catalogues, complet in folie. Language ENG. ISBN 9789490693053.‎

‎ The Catalogue published on the occasion of the Interieur Design Biennale 2010 at Kortrijk, from October 15 to October 24, 2010. ‎

‎Gaston De Mey Monografie.‎

‎, Stichting Kunstboek, 2025 Hardback, 208 pages, Dimensions 300 x 240 mm, Language(s) Dutch (NL) ed. Illustrated. ISBN 9789058567208.‎

‎Gaston De Mey (1933-2015) volgde van 1952 tot 1963 les aan de Kunstacademie in Eeklo. Vanaf 1968 koos hij ervoor om zijn kunstwerken op te bouwen met lettertekens en deze te groeperen in letterbanen en letterstructuren. In zijn werk verviel de leesbare taal - zoals bij de deconstructie in de filosofie - in een essenti lere maar onleesbare ordening van lettertekens in diverse geometrische vormen en formaten. Een selectie van zijn omvangrijk oeuvre werd gebundeld in een aantrekkelijk kijkboek.‎

‎Sophie Nys ?Not To Be Fed But To Be Famous‎

‎, Posture Editions Nr 26, PB, 200 pages, Illustrated. ENG-NL edition. ISBN 9789491262265.‎

‎Curating the Library In 2003, the Antwerp art centre deSingel, starts the project Curating the Library, initiated by Moritz K ng. One evening a month there will be two lectures with a variety of individuals???writers, archi tects, choreographers, composers, artists, philos o phers, sce nog raphers, scientists???presenting their favourite books: pub li cations that have inspired their work or that have played a decisive role in their life. The lectures are recorded on DVD and together with the books, they are part of a steadily growing archive that is stored in the Curating the Library space: a mobile, seemingly hermetically closed, mirroring sculpture that was designed by visual artist Richard Venlet in 2002 for the twenty-fifth S o Paulo Art Biennial. In 2009 Curating the Library ends. In the course of six years, 110 guest speakers have presented 1,557 books to the public. Reading Curating the Library In 2016-17, at the request of LUCA School of Arts and KU Leuven, Faculty of Architecture, the book collection and the reflective sculp ture move to Sint-Lucas Ghent. From January to June 2017 they become the backdrop of bustling events and lectures under the heading Reading Curating the Library.‎

‎Robert Frank : Moving Out.‎

‎, National Gallery of Art, 1994 Hardcover, 335 pages, ENG, 300 x 245 x 35 mm, dustjacket, NEW, illustrated with photographs in colour / b/w. ISBN 9781881616269.‎

‎Robert Frank is one of the most important photographers to have emerged since World War II. In the early 1950s he pioneered an original and sophisticated way of looking at the world that has dominated the art of photography for many years. It was not simply the raw style of his work that made Frank so controversial. Nor was it only his subjects - gas stations, roadside cafes or cars - which he explored in his highly influential book The Americans. Rather it was the combination of all these things, plus Frank's ability to express the loneliness and isolation so characteristic of our age. His powerful images have profoundly influenced successive generations of photographers, painters, film makers, critics and writers. In five specially commisioned essays, scholars draw upon the National Gallery of Art's archive of Frank's vintage prints, negatives, contact sheets, and work prints to provide a comprehensive examination of his landmark contribution to the art of photography and film.‎

‎Jenny Saville The Anatomy of Painting‎

‎ London, National Portrait Gallery, 2025 Illustrated hardcover, 208 pages, 30 x 24 cm, english text. *New ISBN 9781855145948.‎

‎The British artist Jenny Saville is one of today's leading painters, for whom painting the human body gives the artist 'the possibility to work in both an abstract and figurative way'. Jenny Saville: The Anatomy of Painting brings together works from across the artist's career, ranging from pencil drawings to monumental paintings in oil. It also accompanies Saville's first major museum exhibition, showcasing over 50 works from throughout her career in a broadly chronological framework. ‎

‎Portable Panel Paintings at the Angevin Court of Naples. Mobility and Materiality in the Trecento Mediterranean‎

‎, Brepols, 2022 Hardback, 292 pages, Size:216 x 280 mm, Illustrations:11 b/w, 132 col., 2 tables b/w., 1 maps b/w, Language: English. ISBN 9782503596952.‎

‎Summary This book explores the mobilities and materialities of panel painting at and beyond the Angevin court of Naples in the context of objects, materials, patrons, and painters on the move through the fourteenth-century world. It asks how panel paintings participated in and thematized patterns of circulation and exchange; how they extended the artistic and political geography of the court far beyond Naples itself; how their materialities intersected with other mediums from woven silk to precious metalwork to stone; and how painters' formal and technical experimentation combined with painted panels' real and imagined itineraries to create meaning. The volume traces a series of painted panels through networks of patronage, production, gift giving, transport, and replication. It locates the making, movement, and meaning of these works in the overlapping contexts of Angevin dynastic and territorial ambitions, including the family's stakes in the Holy Land; patterns of collecting and adapting authoritative icons; practices of royal female patronage; and painters' engagement with the limits of the medium of panel painting itself. Each chapter weaves together sustained analysis of paintings' pictorial and material structures, close reading of primary sources, and questions of art's materialities and mobilities. Moving between single objects and larger patterns, between the local and the global, this study presents new research on individual works even as it reframes trecento art in the broader context of artistic circulation, exchange, and transformation across the late medieval and early Renaissance world. TABLE OF CONTENTS Chapter 1. Panel Painting in and beyond Fourteenth-Century Naples: Mobility and Materiality Chapter 2. Mobility and Materiality in Simone Martini's Saint Louis of Toulouse Crowning Robert of Anjou Chapter 3. Icons in Angevin Naples between Past and Present, the Monumental and the Mobile Chapter 4. Artists, Patrons, and Objects on the Move: Diptychs for the Angevin Court Chapter 5. Paint, Stone, Flesh: Portable Multipart Panel Paintings with Porphyry Exteriors Chapter 6. Portable Panel Paintings, Royal Women as Patrons, and Court Art beyond the Court Chapter 7. Materiality, Mobility, and Revelation in the Stuttgart Apocalypse Panels Conclusion Bibliography‎

‎Stijn Van Dorpe a Bookcase‎

‎, Posture Editions Nr 15, 2015 PB, 297 x 210 mm, 32 pages, NL edition, Illustrated. ISBN 9789491262159.‎

‎Stijn Van Dorpe (b. 1970) got the idea for the work A Bookcase while assembling three bookcases at home and at the same time listening to music. He found it interesting that the music had no influence on the ultimate form of the assembled bookcase. With this premise established, he invited students of a vocational school for woodworking to take part in a performance during a residency at Hotel Charleroi. Van Dorpe asked them to assemble a bookcase in an old shopping arcade in Charleroi, while a rap group performed alongside them. A film of this performance was shown at the exhibition in Aalst. At the exhibition, the artist first provides an explanation of the images in the form of subtitles on a black screen. Then the filmed performance is shown. In the projection space, there is also a wooden panel with photos of the performance mounted on it. During the exhibition at Netwerk Aalst, the performance was also repeated, again with local rappers and students from a vocational school. All that remains of this performance is the bookcase in the corridor of the arts centre. Van Dorpe's explanation of the film shows his fascination for the difference between, on the one hand, the rappers who give their creativity free rein and, on the other hand, the mechanical, repetitive actions involved in assembling the bookcase: the difference between art and work, between 'a music concert that is seen by the rappers as a stand against a normative society' and, by contrast, the manufacture of a mass-market product within a capitalist system. From: 'Mechanical labour - creative labour' Sarah K senne, in: a Bookcase.‎

‎Textual Communities, Textual Selves: Essays in Dialogue with Brian Stock‎

‎, Brepols -PIMS, 2024 Hardback, xii + 272 pages, Size:152 x 229 mm, Illustrations:9 col., Language: English. ISBN 9780888448378.‎

‎Summary The essays in this volume investigate ways that textual practices in the classical and medieval periods generated collective and individual expressions of identity. Engaging in dialogue with Brian Stock's seminal contributions to the history of literacy, especially Augustine the Reader, The Implications of Literacy, and Myth and Science in the Twelfth Century, the essays initiate new conversations about models of interpretation, habits of reading, textual communities, and forms of self-writing. TABLE OF CONTENTS List of Plates Abbreviations Acknowledgements Sarah Powrie and Gur Zak Introduction Aviad Kleinberg A Life of Brian Seth Lerer The Textualized Augustine and Late Antique Communities Paul Saenger Augustine as Reader: Prospects for Collaboration between Palaeography and the Neurosciences Sarah Spence Augustine, Virgil, and the Landscape of Memory John Magee Boethius and the Legacy of Alexander of Aphrodisias: The Elementary Commentary on De interpretatione 10, 19b22-24, and Related Texts Constant J. Mews Rereading The Twelve Abuses of the Age: From Seventh-Century Ireland to Twelfth-Century France Marcia l. Colish Self-Baptism in the Middle Ages? Willemien Otten Nature's Mediation: William of Conches and Hildegard of Bingen on Creation and the Cosmos Sarah Powrie Allegories of the Formless Self in Augustine's Confessions and Bernardus Silvestris's Cosmographia Gur Zak After Petrarch: Writing and Self-Care in Giovanni Conversini's Rationarium vite Jane Tylus Listening for the Ending Catherine Conybeare Augustine and Wittgenstein: The Inner Dialogue Continued Natalie Zemon Davis A Scholarly Friendship: In Tribute to Brian Stock Publications of Brian Stock Contributors Index‎

‎Kunst- Und Wunderkammer Im Museum : Inszenierungsstrategien Vom 19. Jahrhundert Bis Heute‎

‎, Dietrich Reimer, 2023 Hardcover, 304 seiten, Deutsch, 245 x 180 mm, NEU, mit illustrationen, . ISBN 9783496016878.‎

‎Bereits ab dem fruhen 19. Jahrhundert werden einstige Kunst- und Wunderkammern in Museen integriert, z.B. im Unteren Belvedere in Wien, im Historischen Museum in Dresden oder im Neuen Museum in Berlin. Um das Jahr 2000 erlebt die Kunst- und Wunderkammer dann eine regelrechte Renaissance als Ausstellungsformat, etwa im Kunsthistorischen Museum Wien und im Herzog Anton Ulrich-Museum Braunschweig. Einst burgerliche, hofische oder kirchliche Sammlungen werden in Ruckberufung auf ihren historischen Kontext reinszeniert. Was motiviert so viele Institutionen, eine Kunst- und Wunderkammer einzurichten? Welche Strategien sind dabei zu beobachten? Und welche Aspekte des fruhneuzeitlichen Sammlungsmodells lassen sich uberhaupt in den musealen Rahmen ubertragen? Sarah Wagner betrachtet zahlreiche Dauerausstellungen in Deutschland, Osterreich und der Schweiz. Auf der Suche nach den Ursprungen des Phanomens entdeckt sie vergessene Ausstellungen wieder, die davon zeugen, dass Kunst- und Wunderkammern keineswegs uberall im Zuge der Aufklarung aufgelost und zerstreut wurden.‎

‎Maisons rurales du Val de Loire- Touraine, Blesois, Orleanais, Sologne‎

‎Serg. 1976. In-4. Relié toilé. Bon état, Couv. convenable, Dos satisfaisant, Papier jauni. 119 pages. Nombreuses photos en noir et blanc, in et hors texte. Jaquette correcte.. Avec Jaquette. . . Classification Dewey : 720-Architecture‎

‎ Classification Dewey : 720-Architecture‎

‎EVOCATION DU VIEIL ANGERS.‎

‎ Couverture souple Cholet , Farré , 1980 , petit in4° broché , 197 pp , 1 carte dépliante volante . . Envoi de l' auteur . Langue: Français ‎

‎Fermes et logis du bocage de l'Ouest : Anjou, Maine, Vendée.‎

‎Ivry, Editions Serg, 1975. 24 x 29, 135 pp., 279 illustrations en N/B, reliure d'édition + jaquette, très bon état.‎

‎PIERRES QUI MEURENT EN ANJOU‎

‎Cholet : Farré et fils, 1971. In-8 (23 cm), broché, couverture à rabats illustrée, illustrations en noir, carte dépl., 171 pages, 502 gr., édition originale sur vélin n°53/200 ‎

‎Bon état, envoi de l'auteur‎

‎Pierres qui meurent ? en Anjou.‎

‎ Cholet, Editions Farré & fils, 1971 , broché à rabats, 18x23 cm, 173 pages, Dessins de l'auteur.‎

‎Bon état, pages non coupées. ‎