‎Van den Abeele, André et Van Leirsberghe, Paul‎
‎Bruges‎

‎Civic Group Portraits in Bruges (1650?1800) Windows on Urban History ‎

‎Turnhout, Brepols, :2025 Linnen binding under illustrated dustjacket, vii + 458 pages, 216 x 280 mm, Illustrations:2 b/w, 122 col., 1 tables b/w., 7 maps color. ENG. *NEW. ISBN 9782503618395.‎

‎The patrons of civic group portraits were corporate organisations such as confraternities, craft and militia guilds, charitable institutions, and administrative bodies. Up until now, the painted civic group has been primarily seen as a product of the Dutch Republic. While the genre may have been exceptionally important in the Northern Low Countries, the present study shows that such paintings were also fundamental in the South, with Bruges playing a central role. From the late fifteenth century until 1800, both the urban elite and the artisan classes of Bruges commissioned institutional group portraits, and the forms that those artworks took responded to local conditions and needs. The patrons? self-representation in these works was meant to emphasize the internal cohesion and solidarity within their group, and to reinforce that group?s social status in the urban community. In looking carefully at these contexts, this research project has provided new interpretations for civic group portraits and has demonstrated their richness as both cultural heritage and historical sources. The Bruges works, however, represent just a portion of those produced in the Southern Netherlands during the early modern era. The author provides an updated inventory of 190 civic group portraits that he has been able to trace for the Southern Netherlands. All of these works, moreover, need to be set in a broader European context, as civic group portraits are also recorded in Venice, Paris, and England, and were likely produced elsewhere as well. Future researchers will be able to expand our understanding of the genre as a European phenomenon, continuing to reveal the significance of these remarkable artworks and use them to gain deeper insights into the past. TABLE OF CONTENTS Preface Bruges: An Urban History Chapter 1: Design and Methodology Chapter 2: Early Civic Group Portraits in Bruges, Before 1560 Chapter 3: Civic Group Portraits in Bruges, c. 1560?1650 Chapter 4: Civic Group Portraits in Bruges, 1650?1800 Chapter 5: Civic Group Portraits from Bruges in a Southern Low Countries Context, 1450?1800: A status quaestionis Conclusion Addendum: Civic Group Portraits in the Southern Netherlands, 1450?1800 Notes List of Illustrations Illustrations Photo Credits Bibliography Index‎

‎Convolute of three studies or pamphlets on the feasability of a sea-port in Bruges ( Zeebrugge ) (1) Bruges-Port de Mer. Simples Idées émises par Justin Lambin. (2) La Question des Ports de Bruges. (3) Union Syndicale de Bruges. Rapport sur la situation des diverses branches d'industrie en 1880 et 1881...dans la question de Bruges Port de Mer.‎

‎ (1) Brugge, Imprimerie Houdmont, 1880, in-8°, 12 pp . (2) Bruges, Imprimerie Graphica, s.d. (no author), 14 pp. (3) Bruges, Imprimerie Jean Cuypers, 1882, 46 pp. Bound in blue cloth, leather label on spine, wrappers of (1) and (3) preserved. Rare convolute of three pamphlets or studies on the port of Bruges ( Zeebruges ). The second pamphlet not in De Le Court.‎

‎Bruges and Europe Bruges and Europe. In English /Bruges and Europe Bryugge i Ev‎

‎Bruges and Europe Bruges and Europe. In English /Bruges and Europe Bryugge i Evropa. Antwerp Fonds Mercator 1992, 440 p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalbb2121088c42c38cd.‎

‎Petrus Christus in Renaissance Bruges, an Interdisciplinary Approach ‎

‎, Brepols, Paperback, V+221 pages ., 210 x 297 mm, 1995. ISBN 9782503504445.‎

‎An interdisciplinary approach to the works of Petrus Christus incorporating the papers of the 1994 Petrus Christus Symposium at The Metropolitan Museum in New York. During the past few decades, admirers of Petrus Christus have been astonishingly fortunate. Unknown or forgotten paintings in the style of Christus have turned up with surprising regularity: in the 1950s, the wonderful Kansas City Holy Family; in the 1960s the Birmingham Christ and the Bruges Isabella of Portugal Presented by Saint Elisabeth in the 1980s, the Cleveland Baptist and the problematic Bruges panels of the Annunciation and the Nativity. Nothing, of course, can compensate for the loss, during World War II, of the Dessau Crucifixion, and the Berlin wing panels of the Baptist and Saint Catherine. We had to wait until 1974 for the first monograph devoted to Christus, but since then two more books on Christus have been published and important discoveries have been made about his career in Bruges. Thanks to Maryan Ainsworth and her colleagues, we had a truly marvellous exhibition, where we had the privilige of studying more of Chrsitus' paintings than he himself can ever have seen gathered in one place. The exhibition itself initiated a new phase in Christus studies and it is the ideal beginning. If problems of attribution and chronology are ever to be settled, they had to be settled during the exhibition. This publication offers the papers of the 1994 Petrus Christus Symposium at The Metropolitan Museum in New York. L. Campbell, Approaches to Petrus Christus, W. Blockmans, The Creative Environment: Inventions and Functions of Bruges Art Production, C. Harbison, Fact, Symbol, Ideal, Roles for Realism in Early Netherlandish Painting, G.B. Canfield, The Reception of Flemish Art in Renaissance Florence and Naples, M.P.J. Martens, Discussion, J. Upton, PETRUS.XPI.ME.FECIT, The Transformation of a Legacy, S. Buck, Petrus Christus' Berlin Wings and the Metropolitan Museum's Eyckian Diptych, S. Jones, The Virgin of Nicholas van Maelbeke and the Followers of Jan Van Eyck, C. Eisler, Discussion, L. Gellman, Two Lost Portraits by Petrus Christus. ‎

‎Manuscrits enlumines des anciens Pays-Bas meridionaux, Manuscrits de Louis de Bruges ‎

‎, brepols, 2010 Hardback, 280 p., 460 b/w ill., 210 x 300 mm, ISBN: 978-2-7177-2396-0 Languages: French . ISBN 9782717723960.‎

‎At the court of Burgundy, Louis of Bruges was one of the most remarkable bibliophiles of the 15th century. The majority of his collection consists of secular volumes written in French. Copiously illustrated and in large format, the books often deal with classical history and chronicles, and form a homogeneous artistic corpus, created for the most part in Bruges by selected artists. This volume presents, for the first time, Louis of Bruges' corpus of manuscripts in a format that allows for comparisons with contemporary works. Introduced by a synthetic overview, the catalogue contains descriptions grouped by artist, supplemented by some 460 illustrations. French text. A la cour de Bourgogne, Louis de Bruges fut ? apres Philippe le Bon ? le plus remarquable bibliophile du XVe siecle. Ce personnage joua un role politique de premier plan jusqu?a sa mort survenue en 1492, et sa bibliotheque revint a Louis XII. La plupart des volumes sont profanes et de langue francaise ; abondamment illustres et de tres grand format ils se rapportent souvent a l?histoire antique et aux chroniques. Ce sont 75 titres repartis en plus de 110 volumes. Ces manuscrits forment un corpus artistique homogene, puisqu?ils sont principalement produits a Bruges, plus rarement a Anvers ou a Gand, par des artistes choisis. Si certains sont identifies (Guillaume Vrelant, Loyset Liedet, Jean Hennecart ou Lieven van Lathem), beaucoup restent anonymes malgre la qualite de leur art. Certains voient ici leur corpus defini pour la premiere fois par comparaison avec des manuscrits conserves dans d?autres bibliotheques. Les notices, regroupees par artiste, sont precedees d?une presentation synthetique faisant le point sur chacun d?eux. Bati sur des descriptions methodiques et rigoureuses, ce catalogue possede aussi une dimension monographique et propose un vaste panorama de l?enluminure flamande appuye sur quelque 460 illustrations. ‎