3793 books for « muller j w »Edit

‎Muller Van Severen book.‎

‎Antwerpen , Luster, 2014 Softcover, 160pp., 20x26.5cm., English text. **ALS NIEUW. ISBN 9789460581335.‎

‎What began as a one-off project - designing pure and at the same time poetic furniture together - became a success story for Fien Muller and Hannes Van Severen. Now there is the book, divided into three chapters: 1.Introduction to the artistic work of Fien Muller and Hannes Van Severen - she is a photographer and he is a visual artist - in which, in addition to the quality of each individual, the similarities stand out; 2.Process, about the creative process behind their furniture, with many sketches and photos from their workshop; 3.Objects; with many images of their work in the context of gallery Valerie Traan, which is at the basis of the Muller Van Severen project. ?With texts including interviews with the designers, by design journalist Chris Meplon and London curator and critic Max Fraser. Muller Van Severen is the joint design project of photographer Fien Muller and visual artist Hannes Van Severen, following a commission from gallery Valerie Traan. Their work is on the thin line between art and design: they choose functional furniture with pared-down shapes and contours, but the objects have something fragile and frivolous at the same time.‎

‎Wort und Bild in der Niederlandischen Kunst und literatur des 16. und 17. Jahrhunderts,‎

‎, Erftstadt, Lukassen Verlag, 1984, Gebunden, Deckeltitelvergoldung, Ruckentitelvergoldung, Original-Schutzumschlag illustriert koloriert, 31x22cm, 314pp, illustriert s/w. ISBN 3923769040.‎

‎Contents: J. MULLER HOFSTEDE, "Wort un Bild": Fragen zur Signifikanz und Realitat in der hollandischen Malerei des 17. Jahrhunderts. K. PORTEMAN, Nederlandse embleemtheorie van Marcus Antonius Gillis(1566) tot Jacob Cats (1618). H. MIEDEMA, Tekst en afbeelding als bronnen bij historisch onderzoek. J. BECKER, "De Duystere Sin van de Geschilderde Figueren": zum Doppelsin in Ratsel, Emblem und Genrestuck. B. SCHNACKENBURG, Das Bild des bauerlichen Lebens bei Adriaen van Ostade. Th. VIGNEAU-WILBERG, Hofische Minne und Burgermoral in der Graphik um 1500. P.W.M. VAN DER SLUYS, Invloed van emblematiek, hieroglyfiek en deviezenkunst in het werk van Jonker Jan van der Noot. E. McGRATH, Rubens"s "Susanna and the Elders" and moralizing inscriptions on prints. E. DUVERGER, Voruntersuchungen zur Literatur las Inspirationsquelle fur die flamische Bildteppichkunst des 17.Jahrhunderts. Chr. BROWN, Allegory and symbol in the work of Anthony van Dyck. J. MUYLLE, "Pier den Drol". K. van Mander en P. Breughel. Bijdrage tot de literaire receptie van P. Breughels werk ca. 1600. A.J. GELDERBLOM, Een ereplaats voor een versleten jurk: de interpretatie van de titelgravure in Coornherts "Wercken" van 1630. K. RENGER, Verhaltnis von Text und Bild in der Graphik. (Beobachtungen zu Missverhaltnissen). H. VEKEMAN, Taufe in Feuer und Wasser. Jan Luyken und Jacob Bohme. Chr. TUMPEL, Die Rezeption der judischen Altertumer des Flavius Josephus in den hollandischen Historiendarstellungen des 16. und 17. Jahrhunderts. A. SMITMANS, Probleme des Bildsinns bei Rembrandt. H.J. RAUPP, "Trucidata Innocentia". Die Verurteilung des Oldenbarnevelt bei Joost van den Vondel und Cornelis Saftleven. A. KEERSMAEKERS, Rederijkers-Rebusblazoenen in de 16- en 17e eeuw. G. UNVERFEHRT, Christliches Exempel und profane Allegorie. Zum Verhaltnis von Wort und Bild in der Graphik der Boschnachfolge. J. MULLER HOFSTEDE, Non Saturatur Oculus Visu. Zur Allegorie des Gesichts" von Peter Paul Rubens und Jan Brueghel D.A. REGISTER. Guter Zustand.‎

‎MULLER VAN SEVEREN - Frames‎

‎, Tim Van Laere Gallery, 2025 hardcover, 122 pages, Numerous black & white and color illustrations in and outside the text.quadrilingual: English, Dutch, French, Italian. 26-21cm *new ISBN 9789464004328.‎

‎Tim Van Laere Gallery presents Frames, Muller Van Severen's first solo exhibition at the gallery. Over the past 15 years, Muller Van Severen has developed a synergistic body of work that continually explores the boundaries between sculpture and functional object. This exhibition is the first time they present a series of works that are all unique. The exhibition Frames can be seen as a total installation, an all-encompassing universe of form, color, light, reflection and transparency. More than 30 works are brought together in the monumental space of Tim Van Laere Gallery, in which the artist duo searches for the most essential sculptural impact through minimal intervention. For Frames, Muller Van Severen always starts from a single plate, from which openings and depths arise through cutting and folding that not only provide space for functions, but also bridge the gap between reality and imagination. From the flat surface of a plate, a sculpture emerges that moves between abstraction and figuration. With Frames, Muller Van Severen creates a fictional world of images, in which alternative intrinsic meanings and possibilities are expressed, balancing between realism and surrealism.‎

‎Oude Antwerpsche poortjes. Naar aquarellen van Leopold Muller, kunstschilder. Historische kantteekeningen van Jan de Schuyter.‎

‎S.l., Boekuil en Karveel, 1943 Map met 22pp. tekst en 40 losse kleurenreprocucties, 20.5x30cm., goede staat.‎

‎Uit Antwerpen's oude schatkist. Deel I.‎

‎MULLER / DE VRIES / SCHEEPERS. POPULAIRE PROZASCHRIJVERS DER XVIIe EN XVIIIe EEUW. FOTOMECHANISCHE HERDRUK VAN DE MAGAZIJNCATALOGI VAN DE FIRMA'S FREDERIK MULLER ( 1893 ) EN R.W.P. DE VRIES ( 1907 ) EN DE VEILINGCATALOGI VAN DE COLLECTIE J.F.M. SCHEEPERS ( 1947 EN 1949 )..‎

‎Utrecht, HES Publishers - VRIES, 1981 Gebonden, lichtgroene linnen hardcover met goudopdruk op de rug, 23x15.5 cm., 496 pp. ISBN 9061940737.‎

‎Hommes de Dieu et revolution en Alsace, ‎

‎Turnhout, Brepols, 1993 Paperback, 328 p., + 3 cartes + tabl., 160 x 240 mm. ISBN 9782503502915.‎

‎Sobrement intitulee l'Alsace, la copieuse monographie de Dominique Varry et Claude Muller, specialistes de ces terres de l'Est religieux, repond pleinement aux criteres definis pour la collection. Leur Alsace, largement taillee entre Vosges et Empire germanique, respecte une mosaique confessionnelle et linguistique, englobant heureusement Haut-Rhin, Bas-Rhin et Territoire de Belfort jusqu'aux confins germaniques et helvetiques. Ils savent reinventer une histoire de "proximite" qui descend jusqu'a l'echelon cantonal, une unite administrative et religieuse qui a traverse tous les bouleversements d'un destin "alsacien". Avec prudence, les auteurs avancent dans une realite dont la complexe richesse a decourage plus d'un de leurs devanciers. Tableaux, cartes et graphiques renforcent la solidite d'une analyse qu'un lecteur presse jugerait trop minutieuse. Ils n'ont pas la pretention de fournir une nouvelle histoire de l'Alsace pendant la revolution mais de debusquer les materiaux jusqu'a eux negliges ou ignores en vue des reevaluations contraignantes parce que ponderees. Apres Dominique Varry et Claude Muller et a cause de leur enquete de plusieurs annees de documentation et d'ecriture, les controverses rassassees autour d'une Alsace proclamee "refractaire" face a une poignee de "constitutionnels", de preference etrangers, prennent une dimension neuve. Elle s'elargit encore avec le premier volume de la collection recemment publie et consacre, par les soins d'Alfred Minke a l'Entre Meuse, Rhin et Moselle. D'un volume a l'autre, les resultats obtenus dans des approches convergentes de l'encadrement pastoral ne sont pas le fruit de pures coincidences. Language : French.‎

‎nature, rythme et danse des saisons dans les stalles medievales Actes du colloque "Misericordia International" de Bale (septembre 2006),‎

‎Turnhout, Brepols, 2012 Paperback, 160 p., 65 b/w ill., 15,6 x 23,4. ISBN 9782503530949.‎

‎Table de matieres : F. Billiet et W. Muller, Introduction 1 Le rythme de la nature : E. Block, Calendars on Medieval Choir Stalls 2 Expressions et personnifications de la nature : F. Piat, Iconographie de la nature et ses relations a l?homme dans les stalles de l?ancien duche de Bretagne ? W. Muller, Les silvani dans les stalles bourguignonnes, flamandes et rheno-mosanes aux XVe et XVIe siecles 3 L?homme face a la nature : P. Hardwick, The Problematic Ploughman and English Choir Stalls 4 Les animaux dans les stalles medievales : W. Weusten, L?elephant et le chameau dans les stalles de Notre-Dame de Breda ? I. Dines, The motif of four hares ? F. Billiet, Le sonneur deconfit ou la chasse a l?envers (Basel-Manchester) 5 La nature comme element decoratif dans la sculpture sur bois : N. Kline, Household Beams to Misericords : The Subtext of Narrative ? K. Darecka, Gothic woodworking of doors in Gdansk (Poland), construction, decoration, use of colour and conservation 6 A propos des stalles de Bale : B. Burkhardt, Der Bischofsthron als zentraler Bestandteil des Basler Munsterchorgestuhls - Erkenntnisse zu Gestaltung und Polychromie ? A. Block, Medieval Choir Stalls in Basel, Switzerland : Short Guide Annexe : C. Theunissen, Presentation de la base de donnees Stalla de l?universite de Nimegue ? X. Fresquet, Actualites de la base Musicastallis. Languages : English, French, German.‎

‎Tour, The Vertical Element Christian Philipp Müller‎

‎, MER. Paper Kunsthalle, 2009 SC / 160 pages / 24,5 x 16,5 cm. Texte en Francais. ISBN 9789076979809.‎

‎Project book documenting the different stages of Christian Phillip Müller's commissioned art piece.‎

‎Über den glatten Hai des Aristoteles, und über die Verschiedenheiten unter den Haifischen un Rochen in der Entwickelung des Eies. [In: Abhandlungen der Königlichen Akademie der Wissenschaften zu Berlin. Aus dem Jahr 1840]. - [ESTABLISHING ARISTOTLE AS THE FOUNDER OF BIOLOGICAL SCIENCE]‎

‎Berlin, 1842. 4to. Entire volume of ""Abhandlungen""... and ""Mathamatische Abhandlungen""... 1840 present. Contemporary yellow boards with a vellum-like spine. Handwritten title to spine. A bit of wear and soiling to extremities, and corners bent. Internally fine and clean. Stamp to title-page (Dom-Gymnasium Magdeburg, also stamped out). Pp. (187)- 257 + 6 plates, two of which are folded. Text very nice, bright, and clean, plates with a bit of brownspotting. [Entire volume: (6), XVII, (5), 400 pp. + 10 plates, 4 of which are coloured + (4), 137 pp.].‎

‎First printing of this foundational work, which established the acceptance, by the modern world, of Aristotle as the founder of biological science. It is due to the present work that modern encyclopaedias will now conclude that ""Aristotle is properly recognized as the originator of the scientific study of life."" (SEP). Apart from its importance to the modern view of Aristotle, the present paper was also central to Müller's construction of a natural system of the fishes. For centuries, the authority of Aristotle in matters of science and biology was unrivalled, but with modern science, the advancement of exact knowledge, and modern man's ability to investigate the smallest of details, Aristotle's scientific and zoological works increasingly came to be viewed as not properly belonging to the exact sciences. Many biologists would claim that his observations were fanciful and incorrect, not constituting any real scientific value. This view completely changed with the publication of the present paper, by the renowned zoologist Müller.In his ""Historia Animalium"", Aristotle had described a phenomenon in a shark, which no modern zoologist believed to be true. Had it been true, our classification among sharks and fish would need to be different, as this fanciful observation would completely alter our view of the shark as such. Müller, in the present treatise, was the first to actually prove Aristotle's observation to be true, thereby altering the modern conception of Aristotle, earning him the respect that he truly deserved as the first scientific biologist and as the originator of the scientific study of life. ""Müller placed the Cyclostomata among the fishes. He was thus led to study the sharks... A further product of this investigation was ""Über den glatten Hai des Aristoteles"" (1842). In ""Historia animalium"", Aristotle had reported that the embryos of the ""so-called smooth shark"" are attached to the uterus of the mother by a placenta, as is the case among mammals. Rondelet had described such a shark in 1555 and Steno had observed one in 1673 off the coast of Tuscany, but it had not been referred to in more recent times. Müller was the first who was able to corroborate the earlier testimony.In conjunction with the study of the shark, Müller constructed a natural system of the fishes based on work as painstaking as it was perceptive."" (DSB).Johannes Peter Müller (1801-58) was one of the most important physiologists and zoologists of the 19th century. He made a vast number of important discoveries, and his unusual and empirical approach to his subjects made him one of the most influential scientists of the century. ""Müller introduced a new era of biological research in Germany and pioneered the use of experimental methods in medicine. He overcame the inclination to natural-philosophical speculation widespread in German universities during his youth, and inculcated respect for careful observation and physiological experimentation. He required of empirical research that it be carried out ""with seriousness of purpose and thoughtfulness, with incorruptible love of truth and perseverance."" Anatomy and physiology, pathological anatomy and histology, embryology and zoology-in all these fields he made numerous fundamental discoveries. Almost all German scientists who achieved fame after the middle of the nineteenth century considered themselves his students or adopted his methods or views. Their remarks reveal his preeminent position in medical and biological research. Helmholtz, one of his most brilliant students, termed Müller a ""man of the first rank"" and stated that his acquaintance with him had ""definitively altered his intellectual standards""."" (DSB).‎

‎Flora Fridrichsdalina sive Methodica descriptio Plantarum in Agro Fridrichsdalensi simulque per Regnum Daniae crescentium cum Characteribus genericis & specificis...ac Speciebus pluribus in Dania nuper detectis. - [ALL DANISH PLANTS]‎

‎Argentorati (Strassburg), J.G. Bauer, 1767. 8vo. Nice contemporary half calf with five raised bands and gilt lines to spine. Wear to spine and capitaks and slightly split at hinges, but still tight. A bit of brownspotting throughout. Smukt velbevaret samt. hldrbd. med ophøjede bind, rig rygforgyldning og skindtitel. XVIII, 238, (22) pp. + two folded engraved plates (one being the folded map of Furesøen, Lyngby-og Bagsværd Sø). ‎

‎The very rare first edition of Müller’s floral magnum opus, which according to his own statements contains a description of all known plants in Denmark, of which Müller prides himself with having discovered and described no less than 300. Müller participated in the production of the monumental “flora Danica” with its magnificent plates of all Danish plants, but the present work is the only work of botany that he himself published, namely of the flora of the Schulin Estate. “Otto Friedrich Muller (1730-1784) was born in Copenhagen, the son of the court trumpeter, a German man who had moved to Denmark. With a ready and lively intelligence, he received an excellent education admitted to the University of his hometown at the age of 18, according to the custom of the time he initially studied theology (the Danish university had only three courses of study: theology, law, medicine), then moved to law he had excellent skills in various fields, including music. However, he did not graduate, because for economic reasons in 1753 he abandoned his studies to enter the service of the Schulin family as a tutor to the heir of the house, who was orphaned at an early age. He lived with the Schulin for about twenty years, mostly on their Friedrichsdalin estate, near Copenhagen. Beginning in 1758, using Linnaeus' books, he began to study natural sciences as a self-taught student, both out of passion and to teach his pupil. Starting in 1761, he procured a microscope. His first scientific publication was a catalogue of insects from the Schulin estate, Fauna insectorum Fridrichsdalina (1764). Between 1765 and 1767, during a trip to Europe with his pupil, he visited many countries in central and southern Europe and was able to attend scientific circles, making contacts and lasting friendships. A man of the world, well accustomed to courtiers since childhood, through a strategy of targeted promotion (knowledge of eminent scientists, publication of previous works in support of his candidacy) he managed to be admitted into many European scientific societies. A Strasbourg published his only work of botany, a catalogue of the flora of the Schulin estate, Flora Fridrichsdalina (1767). During the journey, thanks to the various meetings, his interests finally shifted from botany to zoology, in particular to the study of invertebrates, of which he became perhaps the greatest expert of his time. In 1771 - his pupil was then 24 years old - he left the Schulin and thanks to Oeder's recommendation he was hired at the State Archives the office was renovated in 1772 after the fall of Struensee and Müller and, although he retained a small pension, he lost his place. His marriage to the wealthy Norwegian widow Anna Catharina Paludan resolved his economic problems once and for all from that moment on, he was able to devote himself full-time to scientific work. An important piece of his research was the Estate of Drobak, on the Gulf of Oslo, owned by his wife, where the scientist spent the summers from 1774 to 1778, focusing in particular on the study of marine micro-fauna. He was assisted by a team that included draughtsmen and engravers (one of the best painters was his younger brother, Christian Friedrich, who, in addition to illustrating some of his brother's works, years later collaborated with Vahl on the third tranche of Flora Danica) and a number of students, recruited in an ingenious way. Every year, Müller made an advertisement in the newspapers to recruit them and paid them for the journey from Copenhagen to Oslo. Beginning in 1771, publications also multiplied, mainly dedicated to different classes of invertebrates, before then little known. In the meantime, Müller had presented to the court the project of a Fauna Danica, to pair with Flora Danica, of which he was appointed curator after Oeder's departure. The countryside in Norway and, later, when arthritis forced him to give it up, the coasts of Denmark, including the islands, allowed him to collect specimens for both works. In 1776 he anticipated the content of his great zoological work with Zoologiæ Danicae Prodromus, which listed, classified and briefly described all the animal species of the kingdom of Denmark-Norway, a work of epochal importance for the innovative classification of invertebrates. Two folio volumes of Fauna Danica followed in 1777 and 1786, with 40 plates (the other two volumes would be completed and published by various curators many years after his death). Between 1776 and 1784 five files of Flora Danica were also released. However, an important work on infusers (small single-celled organisms that develop in plant infusions, belonging to various classes, especially protozoa) remained unfinished (and was completed by O. Fabricius). In 1784, after a decade of intense work, Müller died at the age of fifty.” (D. D. Damkaer, The Copepodologist's Cabinet, A Biographical and Bibliographical History).‎

‎Quinze poemes rubeniens.‎

‎Antwerpen, Buschmann, 1946 Broche, couverture illustr., 23pp., 18x25cm., bon etat.‎

‎Avec envoi de l'auteur. Ex bibliotheca Craeybeckx.‎

‎JOSEPH PROBST.‎

‎, Luxembourg, Editions Kutter, 1979., Relie, toile verte, jaquette illustree, 230 x 285mm., 148pp., illustration abondante en couleur et en n/b. ‎

‎Texte en Francais et en Allemand. Un des artistes luxembourgeois les plus remarquables de la peinture abstraite. Bon etat.‎

‎SPANIEN PORTUGAL. LANDSCHAFTEN UND STADTE IN 260 PHOTOS,‎

‎, Berlin / Darmstadt / Wien, Deutsche Buch - Gemeinschaft, 1962 Gebunden, 235 x 330mm., 200S., illustriert koloriert.‎

‎Guter Zustand.‎

‎History of Graphic Design. 40th Ed.‎

‎, TASCHEN , 2020 Hardcover, 15.6 x 21.7 cm, 1.24 kg, 512 pages , NEW , Edition: English ISBN 9783836588065.‎

‎In this volume, Jens Müller traces 130 years of graphic design, designers, and developments from the late 19th century through the economic boom after World War II until today. Year-by-year spreads are combined with in-depth features on dozens of landmark projects and industry-leader profiles.‎

‎THE GRAND ROTUNDA OF THE ROYAL MUSEUM FOR CENTRAL AFRICA RE/STORE.‎

‎, Africa musea, 2022 hardcover 265 x 210 mm, 184 pages, ENG edition. ISBN 9789085868378.‎

‎The Royal Museum for Central Africa was founded in 1898, but its current building was inaugurated in 1910 and is characterised by many symbols reflecting the colonial propaganda of the time. The grand rotunda, designed to serve as the museum entrance, plays host to a series of statues that are strong examples of such imagery, reflecting fundamentally racist stereotypes. Between 2013 and 2018, the RMCA underwent a major renovation that saw a substantial redesign of the permanent exhibition, with the involvement of members of the African diaspora in Belgium. A major challenge of the renovation was to demonstrate the will to decolonise a listed building that is legally protected against changes. As removal of the colonial statues was not allowed, the museum was forced to find innovative solutions, notably by inviting contemporary African artists to create installations to dialogue, contrast, and discuss with colonial messages. Congolese artist Aimé Mpane was chosen to make such an installation in the rotunda in 2018 with New breath, or Burgeoning Congo. Public reaction helped the AfricaMuseum realise that it needed to go further. Along with the creation of a second sculpture, Aimé Mpane, in co-creation with Belgian artist Jean Pierre Müller, proposed the RE/STORE project: a permanent installation of transparent veils, each bearing a contemporary message, hung in front of every statue in the rotunda. The themes addressed in this collection of veils interact with the viewer in a powerful and eloquent manner. This richly illustrated book is a compilation of texts written by renowned experts about the history of the rotunda and its statues, as well as the semantic and artistic analysis of RE/STORE, providing a full catalogue of the installations, sculptures, and veils.‎

‎DE GROTE ROTONDE VAN HET KONINKLIJK MUSEUM VOOR MIDDEN-AFRIKA. RE/STORE‎

‎, Afrika museum, 2022 Gebonden 265 x 210 mm, 184 pagina's, NL edition. ISBN 9789085868392.‎

‎Het Koninklijk Museum voor Midden-Afrika werd opgericht in 1898, maar de officiële opening van het huidige gebouw vond pas in 1910 plaats en werd gekenmerkt door vele symbolen die de koloniale propaganda van die tijd weerspiegelen. De grot0e rotonde, ontworpen als ingang van het museum, herbergt een reeks standbeelden die sprekende voorbeelden zijn van de tijdsgeest en de stereotypen met fundamenteel racistische inslag. Tussen 2013 en 2018 onderging het KMMA een uitgebreide renovatie waarbij de permanente tentoonstelling grondig werd heringericht, met de hulp van leden van de Afrikaanse diaspora in België. Een belangrijke uitdaging bij deze renovatie was het doel een gebouw te dekoloniseren dat als beschermd monument is geklasseerd en bijgevolg wettelijk niet kan worden verbouwd. Aangezien de oorspronkelijke beelden niet mochten worden verwijderd, was het museum gedwongen dit te doen op een originele manier. Het stelde met name voor aan hedendaagse Afrikaanse kunstenaars om installaties te creëren die een dialoog, een contrast en een discussie aangaan met de koloniale symbolen. De Congolese kunstenaar Aimé Mpane werd geselecteerd om vanaf 2018 een dergelijk werk te realiseren in de rotonde. Hij creëerde Nieuwe Adem of Ontluikend Congo, maar het AfricaMuseum begreep als snel dat het, om tegemoet te komen aan zijn publiek, een stap verder moest zetten. Samen met de Belgische kunstenaar Jean Pierre Müller stelde Aime Mpané vervolgens, naast de creatie van een tweede sculptuur, het project RE/STORE voor: de permanente installatie van transparante gazen, gespannen voor elke nis van de rotonde, elk met een hedendaagse boodschap. De thema's, sterk en expliciet, maken indruk op de bezoekers van het museum. Dit rijk geïllustreerde boek bevat teksten van gerenommeerde experten over de geschiedenis van de rotonde en de beelden, en over de semantische en plastische analyse van RE/STORE. Het bevat de volledige catalogus van de installaties, beelden en gazen‎

‎UNSZER FRITZ, DEUTSCHER KAISER UND KONIG VON PREUSZEN.‎

‎, Berlin, Verlag von Paul Kittel, 1889., Gebunden, Originalleinen illustriert koloriert, Deckelvergoldung, Ruckentitelvergoldung, Fotofrontispice, 16x 24,5cm., 424 z., mit zahlreichen Illustrationen von ersten deutschen Kunstlern.‎

‎VAN DYCK PEINTURES et DESSINS.‎

‎, Antwerpen, Mercatorfonds, 1991., 2 forts volumes grand In-4 reliespleine toile blanche pour le dos, marron pour les plats (reliure editeur), etui, 383-293 pages.‎

‎Monumental ouvrage abondamment illustre de reproductions en couleurs pour les peintures et en noir pour les dessins. Etat de neuf. TEXT IN FRENCH!!!‎

‎ANTVERPIA. MATER ARTIUM ET MERCATORUM,‎

‎Anvers, Buschmann, 1947 Broche, couverture carton illustree, 245 x 315mm., 87pp., illustration n/b.‎

‎Tirage limitee de 300 exemplaires. Avec envoi de l'auteur. Petits rousseurs, sinon bon etat.‎

‎ALTE MOBEL,‎

‎Munchen, Bruckmann, 1974 Gebunden, Leinen mit Schutzumschlag, 175 x 245mm., 224S., illustriert. ISBN 3765406910.‎

‎Vom Mittelalter bis zum Jugendstil. Guter Zustand.‎

‎MAASLANDSE EDELSMEEDKUNST 12de - 13de EEUW,‎

‎Brussel, Koninklijke Musea voor Kunst en Geschiedenis, 1977 Geillustreerde kartonomslag in kleur, 130 x 190mm., 8pp. gevolgd door aantal z/w platen.‎

‎Reeks Museumgids. In goede staat.‎

‎Herri met de Bles. Studies and Explorations of the World Landscape Tradition ‎

‎, Brepols, 1998 Softcover,181 p., 142 bl/w. ill. 13 colour ill., 210 x 297 mm, Languages: English, ISBN 9782503505824.‎

‎B. Rosasco, The Road to Calvary by Herri met de Bles: An Appreciation, R. Koch, A Rediscovered Painting: The Road to Calvary by Herri met de Bles, N. Muller, Technical Analysis of the Princeton The Road to Calvary, H. Bevers, The 'Antwerp Sketchbook' of the Bles Workshop at the Berlin Kupferstichkabinett, L. Serck, La Montee au Calvaire dans l'oeuvre d'Henri Bles. Creation et composition, M. Faries & S. Bonadies, The Cincinnati Sacrifice of Isaac by Herri met de Bles: Imagery and Strategies, A. Chong, Cleveland's Preaching of John the Baptist by Herri met de Bles: A Landscape with Figures or Figures in a Landscape?, C. Wood, The Errera Sketchbook and the Landsape Drawing on Grounded Paper, M. Ainsworth, An Unfinished Landscape Painting Attributed to the Master LC and Sixteenth-Century Workshop Practice, W. Gibson, The Man with the Little Owl: The Legacy of Herri met de Bles, A. Kofuku, Herri met de Bles and Some Considerations on Simultaneous Representation in Early Flemish Painting, R. Falkenburg, Marginal Motifs in Early Flemish Landscape Paintings. Museums at the Crossroads (MAC 3)‎

‎PARELTJES IN MECHELSE KANT‎

‎, Marian Muller-Roks 2021, 2021 Softcover, 82 pagina's, Nederlands, 210 x 210 mm, boekje is in nieuwstaat, met veel info en illustraties, voor hobbyisten en liefhebbers, . ISBN 9789090340258.‎

‎Mechelse kant vervaardigd door cursisten tevens 18e en 19e eeuwse Mechelse kanten‎

‎Adjugé ! Les Artistes & le marché de l'art en Belgique entre 1850 et 1900.‎

‎Paris/ Namur, Mare & Martin / Rops museum, 2020 softcover, 144 pages, With 80 illustrations, 280 x 250 x 12 mm, ISBN 9782362220289.‎

‎Comme ailleurs en Europe, c?est dans les années 1850 que le marché de l?art contemporain connaît un développement sans précédent en Belgique. Jamais, auparavant, les productions des artistes vivants n?ont fait l?objet d?autant de spéculation. Derrière le mythe de l?artiste bohème et désintéressé, les créateurs et créatrices sont à l?origine de stratégies pour avoir la cote et vendre leurs oeuvres. C?est l?objet de cet ouvrage qui dévoile les lieux et les acteurs du marché nécessaires à leur succès commercial : salles de vente publiques, ateliers, salons officiels et expositions indépendantes, collectionneurs et marchands d?art. Cet ouvrage collectif, accompagnant une exposition au musée Félicien Rops, offre une première synthèse du marché de l?art contemporain en Belgique dans la seconde moitié du XIXème siècle. Les auteur.trice.s: Jan Dirk Baetens est docteur en histoire de l'art, KU Leuven et professeur à la Radboud University. Emilie Berger est docteure en histoire de l'art à l'université libre de Bruxelles. Ingrid Goddeeris est attachée scientifique aux Musée royaux des Beaux-Arts de Belgique. Noémie Goldman est docteure en histoire de l'art à l'université libres de Bruxelles. Denis Laoureux est docteur en histoire de l'art et professeur à l'université libre de Bruxelles. Ulrike Müller est docteur en histoire de l'art à la Gent Universiteit. Eugène Warmenbol est docteur en histoire de l'art et professeur à l'université libre de Bruxelles.‎