‎(Doppelmaster).‎

‎ca. 1930. Farbiges Aquarell. 18 x 10 cm.‎

‎Mit Bleistiiftmarkierung oben links VIII.‎

‎Fischerschiffe im Hafen.‎

‎ca. 1940 Ölgemälde auf Karton. 50 x 61 cm.‎

‎In Holzrahmen mit Goldfiletten.‎

‎Frau sitzend , Mann mit Zigarre im Hintergrund.‎

‎1946. Farbkreide auf Papier. Unten links monogrammiert und datiert. 57 x 42 cm.‎

‎Gebückter Mann mit Stern auf dem Rücken. Gehege im Hintergrund.Unten rechts monogrammiert und datiert.‎

‎1946. Ölgemälde auf Holz. 68 x 59 cm.‎

‎Mit kleinen Schadstellen.‎

‎Gruppe von Segelschiffen.‎

‎1931. Ölgemälde auf Karton, unten links monogrammiert und datiert. 69 x 76 cm.‎

‎In silberfarbenen Holzrahmen.‎

‎Illustration Eisenbahn.‎

‎ca. 1930. Farbiges Aquarell. 18 x 10 cm.‎

‎Landschaft, im Vordergrund zwei Menschen auf einer Bank.‎

‎1934. Ölgemälde. 90 x 64 cm.‎

‎In Holzrahmen. Unten rechts monogrammiert.‎

‎(Landschaft mit vier Birken).‎

‎1937. Ölgemälde. 60 x 50 cm.‎

‎Unten rechts monogrammiert und datiert. In Holzrahmen.‎

‎Segelschiff (Dreimaster).‎

‎ca. 1930. Farbiges Aquarell. 18 x 10 cm.‎

‎Felsina Pittrice: The Lives of the Bolognese Painters , Carlo Cesare Malvasia Felsina Pittrice: Life of Marcantonio Raimondi and Critical Catalogue of Prints by or after Bolognese Masters in 2 volumes ‎

‎, Brepols - Harvey Miller, 2017 Hardback, 2 volumes ., 844 pages ., 33 b/w ill. + 877 colour ill., 220 x 280 mm, Languages: English, Italian. ISBN 9781909400665.‎

‎Malvasia's life of Marcantonio Raimondi includes Malvasia's critical catalogue of prints by or after Bolognese artists, from Giulio Bonasone to Giovan Battista Pasqualini. A great connoisseur and avid collector of prints, Malvasia recognizes the intelligence and novelty inherent in Giorgio Vasari's life of Marcantonio with its list of prints produced by the Bolognese engraver. In republishing Vasari's life, Malvasia not only adds valuable new information, but also completes Vasari's list by cataloguing all the prints unnoticed by his Florentine predecessor. Aware of the interest of amateurs and collectors in identifying old and new prints, establishing their states, and building up an exhaustive collection, Malvasia undertakes the groundbreaking task of describing, one by one or by coherent series, the whole corpus of prints executed by or after Bolognese masters as far as he could determine. He describes the subjects of these works accurately, transcribes their inscriptions, specifies their techniques (whether engraving, etching, or woodcut), supplying their measurements in Bolognese once. In listing the works of Bonasone, the Carracci, Giovan Luigi Valesio, Guido Reni, and Simone Cantarini, among others, Malvasia often comments on their technical and aesthetic qualities, resorting to a refined and complex terminology that reveals his profound knowledge of printmaking. In her introductory essay, Naoko Takahatake explains the historical significance of Malvasia?s innovative production of the first extensive print catalogue, shedding new light on the unique context of Bolognese printmaking in the sixteenth and seventeenth centuries. In her notes, Takahatake identifies over eight hundred prints mentioned by Malvasia, almost all of which are reproduced in color in a separate volume. Underscoring the importance of Malvasia?s critical catalogue for amateurs and collectors, Carlo Alberto Girotto offers a critical edition of the annotations made by the French art theorist Roger de Piles to his own copy of the Felsina pittrice (now in the library of the Institut National d?Histoire de l?Art, Paris). At the end of the translation and notes, Lorenzo Pericolo publishes the sections of Malvasia?s Scritti originali (Ms. B16, Biblioteca Comunale dell?Archiginnasio, Bologna) relating to Bonasone. Review "Overall, the volume is an excellent critical edition, based on accurate philological criteria, and should be considered a milestone for non-Italian speakers who wish to familiarize themselves with Felsina pittrice, a truly essential seventeenth-century text in the Italian and European scenario that provides a wealth of historiographical information and reflections useful for the development of multiple avenues of research." (Marzia Faietti, in: Print Quarterly, XXXV, 2018, 4, p. 469-470)‎

‎Early Bolognese Painting, Felsina Pittrice: Volume I:‎

‎Turnhout, Brepols, 2012 Hardback, XXVI+536 p., 7 b/w ill. + 150 colour ill., 220 x 280 mm. ISBN 9781905375844.‎

‎This richly illustrated volume provides a translation and critical edition of the opening part of the Felsina pittrice, which focuses on the art of late medieval Bologna. The text is unusual in the context of the Felsina pittrice as a whole in that it seeks to record what survives in the city, rather than focusing on individual artists. In response to Vasari?s account of the Renaissance of painting in Florence, Malvasia offers a colorful and valuable portrait of Trecento painting in Bologna, noting the location and condition of destroyed or whitewashed frescoes, dismantled polyptychs, and paintings for which no other record survives. Malvasia provides crucial information on works by important fourteenth-century painters such as Lippo di Dalmasio, Simone dei Crocefissi, and Vitale da Bologna. Included in the volume are historical notes to the text and to the transcriptions of the Scritti originali, published here in their entirety for the first time. The notes enrich our understanding of individual works and identify the sources Malvasia used. Elizabeth Cropper?s introductory essay serves to establish the significance of Malvasia as a historian of art, while Carlo Alberto Girotto?s bibliographical essay analyses the production and reception of the Felsina pittrice as a whole. Language : English, Italian.‎

‎LEON SPILLIAERT 1881 - 1946.‎

‎Antwerp, Ministry of the Flemish Community, 1982 softcover, NL pictorial cardboard cover in colour, 17x24 cm., 72 pp., profoundly illustrated in colour and b/w. ‎

‎In good condition.‎

‎LEON SPILLIAERT 1881 - 1946. English‎

‎Antwerp, Ministry of the Flemish Community, 1982 softcover, pictorial cardboard cover in colour, 17x24 cm., 72 pp., profoundly illustrated in colour and b/w. text in ENGLISH‎

‎In good condition.‎

‎Piero della Francesca,‎

‎IT, Silvana , 2012 Hardback, 230x280mm, 240 pages , 150 colour illustrations, English edition. ISBN 9788836624638.‎

‎This monograph is dedicated to one of the greatest Italian masters, Piero della Francesca (San Sepolcro 1416/1417 approx. - 1492), whose towering multifaceted genius dominates the entire artistic and cultural panorama of the early Italian Renaissance. Each work, from the Baptism of Christ to the Nativity at National Gallery in London, is presented with full-page images and is analysed in depth from the historical point of view, as well as for its style and considering its critical fortune during the centuries. A specific focus is on the magnificent cycle of frescoes of the Legend of the True Cross, in the Basilica of San Francesco in Arezzo, which is considered as Piero's masterpiece. The author of the book, in charge of a conservation and restoration project of the Chapel, presents in her study the results of the conservation work on half of the painting surface, completed with the images of the frescoes after their cleaning. This book is intended as a compact up-to-date guide for readers wishing to find out more about one of the greatest artistic geniuses of all times, who was numbered among the greatest artists of his time and highly praised by his contemporaries, beginning with Vasari in the Life that he dedicated to the artist of excellence from Sansepolcro. ‎

‎Michael Borremans, Magnetics,‎

‎GE, Hatje Cantz , 2012 Paperback, 110x162mm, 60 pages, 16 colour illustrations, only English edition. Fine conditon ISBN 9783775735018.‎

‎Originally trained as a photographer and graphic designer, Belgian artist Michael Borremans (*1963 in Geraardsbergen) has made a name for himself with absurdly ominous and enigmatic works of art. This publication presents a unique selection of a dozen paintings in a revealing text and significant pictures. The artist's paintings are closely intertwined with his other drawings, and films. Borremans operates in an area bordered by all the various media. His scenarios are full of references and allusions that afford viewers a variety of possible interpretations while resisting being joined together to form a definitive whole. What are actually mutually exclusive elements, such as realism and fantasy, the ephemeral and the manifest, irony and confusion, are closely interwoven in his visual worlds, and there is only a fine line between a recognizable, everyday reality and a bizarre dream world.‎

‎MACRINO D'ALBA ‎

‎, Savigliano, Editrice Artistica Piemontese,, 2000 Bound, red cloth, 228 pagine; edizione Italiana; 320 x 245 x 22 mm, buono come nuovo ; sovraccoperta illustrata ; illustrazioni a colori/b/n. ISBN 9788873200277.‎

‎Macrino (a nickname that seems to describe his slim physique), born in Alba in about 1470, was unusual for a Piedmontese artist. He owes his early critical notoriety to the fact that an important painting he produced is still to be found in the Capitoline Museums, where he was promptly interpreted as a follower of the Tuscan and Umbrian Renaissance. In point of fact, Macrino had a modern Tuscan-Roman background, owed to Pinturicchio but also with local and Lombard influences. In this sense, the debate regarding his journey or journeys to Rome is not especially pertinent. His works were usually signed and dated, making it easy to attribute to a painter otherwise little known in documents and sources the Virgin with Child, Saints James, John the Evangelist, John the Baptist, and Thomas Aquinas, and Two Donors (Turin, Municipal Museum of Antique Art); the Virgin and Child with Saint Bernard of Clairvaux and the Donor (Annibale Palaeologus), and Saint John the Baptist (Tortona, Bishop?s Palace); Virgin and Child with Saints Francis and Thomas Aquinas, Angels and Two Female Donors (Alba, Town Hall); Virgin and Child with Saints James, John the Baptist, Augustine and Jerome (Treasury of the sanctuary of Crea)‎

‎Jacques Doucet : catalogue raisonné Volume 2, Parcours 1960-1976‎

‎Jacques Doucet Galilée 70 Couverture souple 1998 Paris 255 p. ; illustrations en noir et en couleur ‎

‎Bon ‎

‎RETROSPECTIVE THEO VAN RYSSELBERGHE‎

‎, Gent, Museum voor Schone Kunsten, 1962., Softcover, geillustreerde papieromslag, 17x24cm, 78pagina's + 70 platen. *goede staat‎

‎Catalogus bij de gelijknamige tentoonstelling die liep van 1 juli tot 16 september 1962. Goede staat.‎

‎EL GRECO. 1541 - 1614.‎

‎Gand, Musee des Beaux-Arts/Stad Gent, 1966 Broche, sous jacquette originale d'editeur, frontispice en couleurs, 22x15.5 cm., 72 pp., illustrations en n/b et en couleurs.‎

‎Exposition Musee des Beaux-Arts, Gand 10 septembre - 1 novembre 1966.‎

‎Le peintre Fernand Rousseaux‎

‎Bruxelles, Edition de 'Savoir et beauté" s.d. 11pp., avec illustrations dans le texte, 28cm., brochure originale, bon état, [Sur Fernand Rousseaux, peintre belge, 1892-1971], S120836‎

‎FERNAND KHNOPFF,‎

‎, Antwerpen, De Sikkel, 1950, Gebonden, halfleder + karton met goudopdruk, frontispice in kleur, originele titelpagina met vignet, 175 x 245mm., 15pp. + 24 z/w platen.‎

‎Monographieen over Belgische Kunst. In goede staat.‎

‎GEORGE STUBBS. Le peintre ''très-anglais'' du cheval 1724-1806 ‎

‎Paris Favre 2002 in 4 (29x23,5) 1 volume reliure cartonnée de l'éditeur, jaquette illustrée en couleurs, 157 pages, avec de nombreuses reproductions en noir et blanc, et en couleurs. George Stubb, 1724-1806, peintre anglais. Collection '' Grande écurie de Versailles ''. Très bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Jaquette en très bon état Couverture rigide ‎

‎Ceci est un boeuf, La querelle des inscriptions dans la peinture‎

‎, Brepols - Harvey Miller, 2013 Hardcover. XVI 328 p., 92 b/w ill. 23 colour ill., 210 x 297 mm, Languages: French. ISBN 9782503548852.‎

‎Cette publication offre un apercu historique du debat sur la vocation fondamentale de l?art: doit-il plaire ou enseigner? En ecrivant ?«Ceci n?est pas une pipe?» sous l?image d?une pipe, Magritte s?inscrit en faux contre le concept de mimesis qui, depuis l?Antiquite, presente la peinture comme une copie du monde reel. Tout en polemiquant avec la mimesis, son tableau repond a une anecdote antique?: selon Elien, les premiers peintres etaient contraints d?ecrire a cote de leurs figures ?«ceci est un b?uf, ceci est un cheval?», tant elles etaient meconnaissables. A l?epoque moderne, la fortune de cette anecdote revele l?existence d?un debat sur les inscriptions et leur utilite dans la peinture, debat aussi meconnu que le phenomene des inscriptions lui-meme. Or ce debat, en apparence limite, renvoie a la vocation fondamentale de l?art: doit-il plaire ou enseigner? representer ou signifier? En effet, l?inscription met en tension representation et signification, pourtant indissociables dans la reception de l??uvre d?art: ses partisans invoquent les necessites de la signification, et ses adversaires celles de la representation illusionniste. L?epoque moderne est traversee par ces contradictions?: d?un cote, la ?«?modernite??» postule l?autonomie de l?art et rejette les inscriptions comme un expedient archaique?; de l?autre, le role didactique des images parait un enjeu crucial tant aux yeux des theologiens de la Reforme et de la Contre-Reforme, soucieux d?instruire les masses et de lutter contre l?heresie, qu?aupres des institutions artistiques qui, de Louis XIV a la Revolution, veulent elargir le public de l?art pour le mettre au service de l?unite nationale. Cette preoccupation culmine a la veille de la Revolution francaise, pour se concretiser bientot lors de la creation des musees: on met des etiquettes sous les tableaux. En suivant ce debat au fil de ses actualisations historiques, le lecteur sera libre de faire sienne la reponse de Magritte, ou de considerer la question comme toujours ouverte: devant une image, faut-il comprendre ce qu?elle represente? Quel est le rapport entre plaisir cognitif et plaisir esthetique? Le langage de l?art est-il irreductible a toute signification verbale?‎

‎TUBUTSCH, with 11 illustrations by Oskar Kokoschka ‎

‎New York Ben Abramson - The Profile Press Book 1946 in 8 (23,5x16) 1 volume reliure toilée bleue de l'éditeur sous jaquette illustrée (une petite partie du dos de la fragile jaquette manque), 79 pages (texte en langue anglaise). Avec 11 illustrations à pleine page par Oskar Kokoschka (With eleven full page illustrations by Oskar Kokoschka). Translated from the German by Eric Posselt and Eva Zistel. Tiré à 1000 exemplaires (an edition of 1000 copies). Bon exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Bon Couverture rigide Ed. limitée ‎

‎Santa Maria Antiqua: The Sistine Chapel of the Early Middle Ages‎

‎, Brepols - Harvey Miller, 2021 Hardback, iv + 502 pages, Size:220 x 280 mm, Illustrations:50 b/w, 125 col., 30 tables b/w., Language: English. ISBN 9781909400535.‎

‎Summary The Santa Maria Antiqua Complex in the Forum in Rome was probably established at the foot of the Palatine Hill in the 6th century. Over the following 600 years it was decorated with a unique series of frescoes bearing evidence of imperial, papal and monastic influences. Abandoned in the 9th century, limited use probably continued up to the 11th century. By the 17th century the complex was completely buried under the rising floor of the Forum. Excavations in 1900 exposed a largely intact complex containing hundreds of 6th - 11th century frescoes, in some places over four layers deep and a unique Chapel of Medical Saints which suggests this was also an incubation site. The English Press hailed the site as the 'Sistine Chapel of the Ninth century'. Lavish illustrations of these frescoes, following recent restoration, make this book an indispensible resource, not only for those working on the church but also for those interested in contemporaneous material in medieval sites especially in Rome, Europe and Byzantium. This monograph contains the proceedings of an International Conference held at the British School at Rome on 4-6 December, 2013. It reports results of the major project of preservation and research led by the Soprintendenza and carried out over the last 12 years on the fabric of the church, its frescoes, floor, wall and ceiling mosaics, its drainage and infrastructure. Much of the restoration was funded by the World Monuments Fund. The conference also marked the 75th anniversary of the death of Gordon Rushforth, the first Director of the British School at Rome and the author of one of the earliest key papers on the S. Maria Antiqua site. TABLE OF CONTENTS INTRODUCTION by Eileen Rubery, Giulia Bordi, John Osborne TIMELINE TOPOGRAPHIC REFERENCES LIST OF COLOUR PLATES COLOUR PLATES HISTORIOGRAPHY Oscar Mei 1702: The discovery of Santa Maria Antiqua T.P. Wiseman Gordon McNeil Rushforth and Santa Maria Antiqua Andrea Paribeni 'With Boni in the Forum'. The relationship between Gordon McNeil Rushforth and Giacomo Boni according to archival documentation Ernesto Monaco Measuring Santa Maria Antiqua: from Petrignani to the present Giovanni Gasbarri 'Ce monument est avant tout un témoin': Wladimir de Grüneisen and the multicultural context of Santa Maria Antiqua John Osborne Per Jonas Nordhagen, Santa Maria Antiqua, and the study of early medieval painting in Rome TOPOGRAPHY Henry Hurst The early church of Santa Maria Antiqua David Knipp Richard Delbrück and the reconstruction of a 'ceremonial route' in Domitian's palace vestibule Robert Coates-Stephens The 'Oratory of the Forty Martyrs' CONSERVATION Giuseppe Morganti "Per meglio provvedere alla conservazione dei dipinti ?". 1984-2014: Santa Maria Antiqua 30 Years Later Werner Schmid Diary of a long conservation campaign The palimpsests of Santa Maria Antiqua Maria Andaloro The Project Giulia Bordi The three Christological cycles in the sanctuary of Santa Maria Antiqua Paola Pogliani, Claudia Pelosi, Giorgia Agresti Palimpsests and pictorial phases in the light of studies of the techniques of execution and the materials employed ICONOGRAPHY Per Olav Folgerø Expression of Dogma: Text and imagery in the triumphal arch decoration Manuela Gianandrea The fresco with the Three Mothers and the paintings of the right aisle in the Church of Santa Maria Antiqua Maria Grafova The decorations in the left aisle of Santa Maria Antiqua within the context of the political history of the Iconoclastic era Marios Costambeys Pope Hadrian I and Santa Maria Antiqua: Liturgy and patronage in the late eighth century RE-READING THE DECORATIVE PROGRAMME Giulia Bordi The apse wall of Santa Maria Antiqua (IV-IX centuries) Eileen Rubery Monks, Miracles and Healing. Doctrinal Belief and Miraculous Interventions: Saints Abbacyrus and John at Santa Maria Antiqua and related Roman Churches between the sixth and the twelfth centuries Richard Price The frescoes in Santa Maria Antiqua, the Lateran Synod of 649, and pope Vitalian Beat Brenk A new chronology of the worship of images in Santa Maria Antiqua AFTERWORD Maria Andaloro The icon of Santa Maria Nova after Santa Maria Antiqua‎