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[CANTAL] HENRY (Pierre-Paul)
L.A.S.
Paris, 5 janvier 1792 petit in-4, 4 pp. dont 1 p. 1/3 manuscrite, en feuille.
Reference : 219567
Lettre adressée par Pierre-Paul Henry (1738-1798), député du Cantal à l'Assemblée législative, à un certain Desjobert, auquel il recommande la cause de son frère. On ne sait si ce dernier est en procès ou s'il quémande une place.Cf. Lemay, Dictionnaire des législateurs, II, p. 391. - - VENTE PAR CORRESPONDANCE UNIQUEMENT - LIEN DE PAIEMENT, NOUS CONSULTER.
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Librairie Historique Fabrice Teissèdre
M. Fabrice Teissèdre
lecurieux@teissedre-librairie.fr
06 46 54 64 48
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5 book(s) with the same title
Peter Swinnen, Willy Van Der Meeren, Rika Devos, Charlotte Nys, Francis Strauven, Francis Carpentier
Reference : 68177
Willy Van der Meeren: MASS
Leipzig, Spector Books , 2025 thread-sewn softcover, 212 pages, numerous b/w and color illustrations, ENG. *NEW . ISBN 9783959059282.
Rooted in a firm socialist credo, Willy Van Der Meeren (1923?2002) championed an architecture for the masses?built logically, with as little material as possible, and endowed with the necessary elegance to make it through the day. Van Der Meeren did not preconceive architecture, nor did he postproduce it. He thought, acted, and built in the now, at a scale of 1:1. His architectures?almost without exception?are clear prototypes, awaiting mass production. For more than five decades, Van Der Meeren advocated the intrinsic merger of architecture and the building industry. However, his ideal for line-manufactured and affordable housing never saw the light of day. Perhaps Van der Meeren's democratic furniture collection, produced for TUBAX between 1943 and 1955 when he was emerging as an architect, best approximates his social dream. However, his furniture pieces?like his architecture?are now highly sought-after objects, eventuating in the exact opposite of his quest for a society that would be open to all. MASS wishes to celebrate Van der Meeren?s uncompromising architectural stance (a rarity), while critically scrutinizing the idea that architecture is unable, perhaps, to have an impact on a larger scale.
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
Elizabeth McGrath, Gerlinde Gruber, Gregory Martin, Koenraad Jonckheere, Bert Schepers, Nils B ttner
Reference : 68179
Mythological Subjects, Paris to Venus. Corpus Rubenianum Ludwig Burchard, vol. 11.3 Corpus
Turnhout, Brepols, 2025 2 vols, 976 pages 175 x 260 mm, Illustrations:224 b/w, 91 col. English text. NEW . ISBN 9781915487636.
One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time there emerged a new, secular, genre of art devoted to the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. Still, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is a happy accident of history that so many of these splendid paintings are now widely visible in the great museums of the world. TABLE OF CONTENTS Volume One Preface Catalogue Raisonn - Paris and his Judgement of the Goddesses: Nos 101-106 - Phaeton?s Temerity and the Consequences: Nos 107-108 - Philemon and Baucis: No.109 - Procris and Cephalus: No. 110 - Prometheus: No. 111 - Proserpina?s Abduction by Pluto: No. 112 - The Story of Psyche: Nos 113-114 - Satyr Subjects: Nos 115-120 - Silenus, with Bacchic and Rustic Companions: Nos 121-129 - Venus: Her Loves and her Worship: Nos 130-139 - Vertumnus and Pomona: No. 140 - Rejected Attributions: Nos R1-5 Volume Two List of Figures Figures Bibliography Indexes I: Collections II: Subjects III: Other Works by Rubens Mentioned in the Text IV: Names and Places Sources of Photographs
Mapplethorpe: Les femmes
Paris, Nathan, 1989 Yellow linen binding with dustjacket, 114 pages, 26 x 31 cm, FR. *As new. ISBN 9782092400272.
Les femmes. Introduction de Joan Didion. Adapt. fran aise de Dani le Laruelle, avec la collab. de Philippe Brunet. ISBN 10: 2092400274 / ISBN 13: 9782092400272
ECHOES DREAMS Echo des songes, le symbolisme Bruxelles
Brussel - Brussels, maison Hannon, 2026 couverture souple, 200 pages, richement illustr en couleurs, en fran ais ISBN 9782960404906.
partir du 29 ao t 2025, la Maison Hannon pr sente Echo's of Dreams. Symbolisme Bruxelles, une grande exposition r unissant 80 oeuvres exceptionnelles : peintures, dessins, vases, sculptures, photographies. Con ue comme un voyage int rieur, l'exposition explore les tensions, les espoirs et les r ves d'une g n ration en qu te de sens. R parti en cinq salles th matiques, le parcours de l'exposition suit les tapes d'une qu te personnelle, de la d sillusion moderne la contemplation cosmique. Les ?uvres de Khnopff, Delville, Rousseau, Fr d ric et Gall dialoguent avec le d cor Art nouveau et r v lent la richesse du symbolisme belge. L'exposition met en lumi re trois collections belges importantes (Gillion-Crowet Urban Brussels, Atelier symboliste et une collection priv e).
