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‎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.‎

‎Le ciel réformé. Essai de traduction de partie du livre italien, Spaccio della Bestia Trionfante. - [INFLUENCING FRENCH ENLIGHTENMENT THOUGHT]‎

‎[Paris], 1750 [L'an 1000 700 50]. Small 8vo. Lovely contemporary full mottled calf with richly gilt spine and triple gilt line-borders to boards. All edges of boards gilt, and inner gilt dentelles. Some wear to extremities, especially capitals. Book plate removed from inside of front board. Half-title and title-page printed in red and black. Engraved title-vignette. A nice and clean copy, printed on good, heavy paper, and with wide margins. (4), 92 pp.‎

‎Scarce first translation into French of Giordano Bruno's seminal ""Expulsion of the Triumphant Beast"", being the first part of any of Bruno's works to be translated into French and presumably the second translation of any of Bruno's works into any language, only preceded by the equally scarce first translation into English of the same work (1713). ""The Expulsion of the Triumphant Beast"" constitutes one of Bruno's main works and that of his works which proved to be most influential throughout the 18th and 19th centuries, profoundly affecting both science, philosophy and religion, as it ""turns to social ethics and religious reform, but in a cosmic setting"". (Copenhaver & Schmitt, p. 301).Bruno's world-view as presented in the ""Spaccio"" cannot but have appealed directly to the French thinkers of the 18th century, when the first part of any of Bruno's works thus appears in French for the first time. The Enlightenment thinkers of 18th century France must have found much resonance with the extreme and provocative views held by the - until then - overlooked Renaissance thinker, who was burned on the stake due to his non-conformist views. ""Magic, pantheism, idolatory, demonolatory, apostasy - just these few outrages from the long list in the ""Spaccio"" would have been enough to anger the authorities, but there were more besides: Bruno doubted immortality, taught metempsychosis, recommended free-thinking, deserted positive for natural religion, criticized the Bible, defamed the Jews, slandered the Protestants, betrayed the Catholics, and condemned civil government besides."" (Copenhaver & Schmitt, p. 302). - Bruno's thoughts as expressed in the ""Spaccio"" doe not leave those of a Voltaire far behind.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. The first translations of his works thus proved to be of seminal importance to the spreading of his ideas.As Jacobi states in the preface to the second edition of his ""Letters on Spinoza..."" (1785), ""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]"" (pp. (VII)-VIII - own translation from the German). Bruno's most representative work, ""Spaccio de la bestia trionfante"" (The Expulsion of the Triumphant Beast), published in an atmosphere of secrecy in 1584 and never referred to as anything but blasphemous for more than a century, was singled out by the church tribunal at the summation of his final trial. That is hardly surprising because the book is a daring indictment of the corruption of the social and religious institutions of his day. The ""triumphant beast"" signifies the reign of multifarious vices. Cast in the form of allegorical dialogues, Bruno's work presents the deliberations of the Greek gods who have assembled to banish from the heavens the constellations that remind them of their evil deeds. The crisis facing Jove, the aging father of the gods, is symbolic of the crisis in a Renaissance world profoundly disturbed by new religious, philosophical, and scientific ideas."" (From Arthur D. Imerti's 1964 translation of the work into English).""Bruno, who had already used geometric diagrams and philosophical terms to present n infinite universe, now wrote a dialogue in which he transformed the cosmos by transforming its imagery. He called it ""The Triumphant Beast"", a phrase that brought to mind the book of Revelation [...] Unlike most of his contemporaries, who gave the universe about six thousand years of existence since creation, the Nolan philosopher had already proclaimed that it was infinitely old"" in ""The Expulsion of the Triumphant Beast"", he insists that the universe holds cultures and memories that have come and gone and will come and go again."" (Rowland, pp. 164-65).Giordano Bruno was born in Nola in Southern Italy in 1548, and entered the Dominical 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. ""Bruno burned for philosophy"" he was killed for moral, physical, and metaphysical views that terrified and angered authorities."" (Copenhaver & Schmitt, p. 315).Salvestrini: 112Copenhaver & Schmitt: ""Renaissance Philosophy"", 1992.Ingrid D. Rowland: ""Girodano Bruno. Philosopher/Heretic"", 2008.See also: Cassirer: ""Das Erkenntnisproblem"", 1922 Bd. 1"" ""An Essay on Man"", 1944. Garin: ""Italian Humanism"", 1965. Paterson: ""The Infinite Worlds of Giordano Bruno"", 1970. Kristeller: ""Eight Philosophers of the Italian Renaissance"", 1964. Copenhaver & Schmitt: ""Renaissance Philosophy"", 1992. W. Boulting, ""Giordano Bruno"". ‎

‎Marcel Lempereur-Haut‎

‎Galerie Berthet-Aittouares, Paris, s.d. In-8, broché sous couverture illustrée, 24 pp. Préface de Bruno Jaubert - Extraits de Marcel Lempereur-Haut et Marie-Paule Baudienville - Planches [40 n° décrits].‎

‎Avec 40 illustrations et planches, dont une en couleurs. --- Plus d'informations sur le site archivesdunord.com‎

‎Aurore JanonLe fil du temps‎

‎Musée d'Art et d'Industrie, Roubaix, 1999. In-12, cartonnage éditeur illustré en couleurs, 46 pp. Avant-propos, par Jean-François Boudailliez - Est-ce que je n'ai rien oublié?, par Sylvette et Bruno Gaudichon - L'œuvre tranquille d'Aurore Janon, par Claude Vicente - Aurore Janon en deux mots, par Alain Réveillon - "Je ne suis pas une artiste", ...‎

‎Nombreuses planches couleurs. --- Plus d'informations sur le site archivesdunord.com‎

‎Musée d'Art et d'Industriede Roubaix‎

‎Musée d'Art et d'Industrie de Roubaix, 1990. In-8, plaquette agrafée sous couverture en couleurs, 28 pp. Préface, par André Diligent, maire de Roubaix - Remerciements - Vers le musée d'Art et d'Industrie, par Bruno Gaudichon.‎

‎Avec 39 illustrations et planches en couleurs. --- Plus d'informations sur le site archivesdunord.com‎

‎La Chapelle de Hemcommande d'un patron esthète de Roubaix‎

‎éditions invenit & musée La Piscine, Roubaix, 2019. In-4, broché sous couverture rempliée et illustrée en couleurs, 157 pp. Les couleurs de Manessier à l'expérience de la lumière du Nord, par Bruno Gaudichon - Une unité artistique au service de la dévotion, par Mathilde Méreau - La chapelle d'Hem sous le regard de ses contemporains, par M. Méreau - ...‎

‎Nombreuses illustrations et planches en noir et en couleurs. --- Plus d'informations sur le site archivesdunord.com‎

‎Constant Le Breton1895-1985‎

‎Musée Marmottan-Claude Monet, Paris, 1996. In-4, broché sous couverture illustrée en couleurs, 13 pp. - pl. Préface, par Arnauld d'Hauterives - L'art de Constant Le Breton, par Michel Mohrt - Comment situer Constant Le Breton, par Bruno Foucart - Trois extraits des souvenirs de Constant Le Breton : Regards en arrière. - Quelques réflexions sur l'époque ...‎

‎95 illustrations sur des planches en noir et en couleurs en fin de volume --- Plus d'informations sur le site archivesdunord.com‎

‎Raffet 1804-1860‎

‎Editions Herscher, Paris/musée de Grenoble, 1999. In-4, broché sous couverture illustrée, 159 pp. Avant-propos, par Serge Lemoine - Préface de Jean Tulard - Raffet, une vie à la Balzac, Bruno Foucart - Raffet créateur de légende : Raffet, illustrateur de la Révolution, Ségolène Le Men. - Napoléon et l'inspiration napoléonienne, par B. Foucart ...‎

‎Nombreuses illustrations en noir et en couleur in et hors texte. --- Plus d'informations sur le site archivesdunord.com‎

‎GéricaultLa folie d'un monde‎

‎Editions Hazan/musée des Beaux-Arts de Lyon, 2006 In-4, broché sous couverture rempliée et illustrée en couleurs, 239 pp. "Des tempêtes, des grondements, l'abîme..." Figures de la folie chez Géricault, par Sylvie Ramond - Géricault : peintre du politique, par Bruno Chenique - Essais : Peurs plaisantes : Géricault et l'inquiétante étrangeté à l'aube du XXe siècle, par Stefan ...‎

‎Avec 169 illustrations et planches en noir et en couleurs. --- Plus d'informations sur le site archivesdunord.com‎

‎Mark di SuveroValenciennes 2007‎

‎Galerie Bruno Mory, Paris, 2008 Grand in-4, broché, 38 pp. Avant-propos de Dominique Riquet, maire de Valenciennes - Mark di Suvero ou le temps des constructeurs/Mark di Suvero or the era of constructors, par François Barré - E = MC² - Ulalu - Galerie de l'Aquarium - Mark di Suvero ...‎

‎Avec 20 planches couleurs, dont 4 en double page.Ouvrage bilingue français/anglais. --- Plus d'informations sur le site archivesdunord.com‎

‎Pegot Waring - Stone Sculptures‎

‎Nierendorf Editions, New York City, 1945. In-8, cartonnage éditeur sous jaquette illustrée, 41 pp. - pl. Pegot Waring, by Bruno Adriani - List of Plates - Plates.‎

‎Avec 19 planches en hors texte en noir et blanc.Texte en anglais. --- Plus d'informations sur le site archivesdunord.com‎

‎Granet - Paysages de Provence‎

‎Musée Granet, Aix-en-Provence, 1988. In-4, broché sous couverture illustrée en couleurs, 147 pp. Avant-propos, par Denis Coutagne - Granet, peintre de la Provence, par D. Coutagne - Recherches chronologiques 1775-1802 : L'élève de Constantin, par Bruno Ely. - Le vainqueur de Toulon. - L'agent de l'inventaire. - Le peintre de l'arsenal. - ...‎

‎Nombreuses illustrations en noir et blanc et 4 planches couleurs en hors texte. --- Plus d'informations sur le site archivesdunord.com‎

‎Alfred Auguste Jeanniot 1889-1969‎

‎Somogy Editions d'Art, Paris, 2003. In-4, cartonnage éditeur sous jaquette illustrée en couleurs, 174 pp. Introduction : Sous le signe de Jean Goujon, par Bruno Foucart - 1925, 1931, 1937, les grandes expositions consacrent Alfred Janniot, Michèle Lefrançois - Janniot au musée des Colonies ou comment transformer une commande en chef-d'œuvre, Dominique François - Alfred ...‎

‎Nombreuses illustrations et planches en noir et en couleurs. --- Plus d'informations sur le site archivesdunord.com‎

‎Olivier Debré à Boulogne-Billancourt‎

‎Centre culturel de Boulogne-Billancourt, 1988. In-4, agrafé sous couverture illustrée en couleurs, 14 pp. Avant-propos, par Georges Gorse - Entretien avec Olivier Debré, par Marilys de la Morandière et Bruno Foucart - Olivier Debré, oeuvres monumentales, 1965-1988.‎

‎Illustrations en noir et en couleurs. --- Plus d'informations sur le site archivesdunord.com‎

‎Normandie - L'épopée du "Géant des Mers"‎

‎Herscher, Paris, 1985. In-4, reliure pleine toile éditeur sous jaquette illustrée en couleurs, 207 pp. La création de "Normandie", par Charles Offrey - Le palais flottant, par Bruno Foucart - La vie à bord, par Claude Villers - Epilogue, par Charles Offrey - Normandimania, par François Robichon - Liste des passagers de 1ere classe du ...‎

‎Nombreuses illustrations en noir et en couleurs. --- Plus d'informations sur le site archivesdunord.com‎

‎Viollet-le-Duc‎

‎Editions de la R.M.N., Paris, 1980. Fort in-8, broché sous couverture illustrée en couleurs, 415 pp. Avant-propos, par Jean-Philippe Lecat - Viollet-le-Duc, cent ans après, par Bruno Foucart - Eléments biographiques, par Geneviève Viollet-le-Duc - Viollet-le-Duc restaurateur - Viollet-le-Duc et la restauration de la sculpture - La restauration des vitraux - Viollet-le-Duc constructeur - Viollet-le-Duc décorateur ...‎

‎Nombreuses illustrations et planches en noir et en couleurs. --- Plus d'informations sur le site archivesdunord.com‎

‎Point trop n'en faut (Hornet's Nest)‎

‎ " La Tour de Londres " n° 38 / Nicholson & Watson (Bruxelles) (1949) - In-8 broché de 192 pages - Couverture en couleurs - Traduction de Michel Peyran - Exemplaire en bon état‎

‎Camille Claudel (1864-1943)‎

‎Musée Rodin, Paris, 1984. In-8, broché sous couverture illustrée en noir et blanc, 144 pp. Avant-propos, par Monique Laurent - Introduction, par Bruno Gaudichon - Le mouvement de la vie, par Anne Rivière - Catalogue raisonné de l'oeuvre sculpté, peint, dessiné et gravé de Camille Claudel, par B. Gaudichon - Catalogue des oeuvres exposées : ...‎

‎Nombreuses illustrations en noir et blanc. --- Plus d'informations sur le site archivesdunord.com‎

‎Gaston Lachaise 1882-1935‎

‎Editions Gallimard, Paris, 2003. In-4, cartonnagé éditeur illustré en couleur, 201 pp. La sculpture féconde, par Bruno Gaudichon - La Géante, Charles Baudelaire - Obsession, par Louise Bourgeois - Gaïa et Gorgô, par Jean Clair - La passion de Gaston Lachaise, par Hilton Kramer - Portrait de Belle, photographies et lettres de ...‎

‎Nombreuses illustrations en noir et en couleur. --- Plus d'informations sur le site archivesdunord.com‎

‎Musée communal d'Ixelles - Bruxelles‎

‎Ludion Editions SA, Gand, 1994. In-4, broché sous couverture illustrée en couleur, 127 pp. Avant-propos, par Georges Mundeleer - Historique, par N. d'Huart - Catalogue - Orientation bibliographique - Index des artistes.‎

‎Nombreuses illustrations en noir et en couleur. --- Plus d'informations sur le site archivesdunord.com‎

‎Eugène‎

‎La Piscine, musée d'Art et d'industrie André Diligent, Roubaix, 2004. Petit in-4, broché sous couverture illustrée en noir, 143 pp. Avant-propos : "A chaque toile, il m'a fallu reprendre la mer", par Bruno Gaudichon - I. : l'homme des flaques. - la girouette et le mille-pattes. - Emmurés vivants. - A plein poumons. - L'attente. - Le contre-jour. - A ...‎

‎Nombreuses illustrations en noir et en couleurs. --- Plus d'informations sur le site archivesdunord.com‎

‎Ca te la coupe ! (Bleeding Scissors)‎

‎ Série noire n° 70 - GALLIMARD (1950) - In-12° cartonné sous jaquette noire et jaune de 248 pages - Edition originale française - Traduction de Henri Robillot - Bon état‎

‎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) ‎