‎Iconografie van de Nederlandsche Primitieven‎

‎Amsterdam/ Brussel, De Spieghel/ Standaard-Boekhandel 1933 xiv + 267pp.+ 80 illustraties buiten tekst, 26cm., originele omslag (scharnieren wat hersteld) en beschermd door kristalpapier, goede staat, S84499‎

‎Das Grabbild des Peter Paul Rubens in der Jakobskirche zu Antwerpen‎

‎Hildesheim, Olms 1986 360pp.with 50 ills., 21cm., softcover, good condition, S85727‎

‎Le paysage et les Paysagistes. Théodore Verstraete‎

‎Bruxelles, G.Van Oest 1906 [vi] + 109pp.+ 18 illustrations hors-texte, nouvelle édition revue et complétée, belle reliure cart. (plats marbrés, dos et coins en cuir avec titre et nerfs dorés, br.orig. conservée et reliée), 29cm., quelques rousseurs (texte toujours bien lisible), bon état, S88712‎

‎POUR LE REALISME. UN PEINTRE S'INTERROGE. **** Avec envoi de l'auteur et signature Roger Somville.‎

‎, Bruxelles, Cercle d'Education Populaire, 1969, softcover, couverture carton illustree, 145 x 210mm., 332pp.‎

‎Avec signature et envoi de l'auteur a Mr. Joseph van Schap. Exemplaire numerotee, n , 32. tirage de 1500. ‎

‎LES PRIMITIFS FLAMANDS DE BRUGES.‎

‎, Bruxelles, 1966., Relie, toile d' editeur, dos orne de titre dore, sous jacquette d' editeur illustre n/b, 29,5x23cm, 248pp, illustre n/b.‎

‎Apports des archives contemporaines ( 1815 - 1907). Collection: "Les Primitifs Flamand", III. Contributions a l' etude des primitifs flamands.‎

‎Les Primitifs Flamands de Bruges. Apports des archives contemporaines (1815-1907)‎

‎Bruxelles, 1966 252pp. avec quelques illustrations hors-texte, 30cm., reliure toile d'éditeur, jaquette illustrée, dans la série "Les Primitifs flamands, III: Contributions à l'étude des Primitifs flamands" tome 4, bon état, S101822‎

‎Catalogue of Important Old Master Paintings - Sotheby's 13 December 1978‎

‎London, Sotheby's 1978 130pp.text + 123pp.plates in bl/w & colour, 123 lots, good condition, S43256‎

‎Ecrits sur la peinture‎

‎Paris Lachenal & Ritter 1980 Grand In-8° Broché, couverture et étui illustrésEdition originale regroupant les écrits de Soupault sur la peinture et les peintres, écrits entre 1922 à 1980. Frontispice d'André Masson, portrait de l'auteur. Nombreuses illustrations en noir et en couleurs. 396 pages‎

‎Livre en très bon état, intérieur frais et complet. Un excellent exemplaire quasi neuf.‎

‎Comment Rubens devint paysagiste ou le vrai "Steen" du maitre‎

‎Anvers, Impr. Anversoise pour le commerce et l'industrie s.d. [+/- 1940] 64pp., 26cm., br.orig., avec ex-libris de Lode Monteyne, signé avec brève dédicace par l'auteur, bon état, rare, S90750‎

‎RUBENS DIPLOMAAT. ‎

‎Brabant, Dienst voor Geschiedkundige en Folkloristische Opzoekingen van de provincie Brabant, 1962 Gebrocheerd, softcover, originele uitgeversomslag in z/w, 14.5x22.5 cm., 183 pp. met inbegrip van 32 z/w platen. ‎

‎Tentoonstelling Rubenskasteel Elewijt 1 juli - 15 september 1962.‎

‎The Angels appearing to the Shepherds - by Velazquez. A critical study‎

‎London, The Medici Society 1913 34pp.+ 7 plates out of text, original 1913-edition, 26cm., editor's hardcover with gilt lettering (with few spots, corners bit bumped), printed on special stiff paper, very few foxing, good condition, rare, S92461‎

‎pittura medievale a Roma Corpus volume IV: Riforma e tradizione, 1050-1198,‎

‎Turnhout, Brepols, 2007 Hardback, 407 p., 350 colour ill., 24 x 31. ISBN 9782503525259.‎

‎Languages : Italian.‎

‎pittura medievale a Roma Corpus volume V: Il Duecento e la cultura gotica, 1198-1287 ca.,‎

‎Turnhout, Brepols, 2012 Hardback, 419 pages., 350 colour ill., 24 x 31. ISBN 9782503526775.‎

‎Questo volume del Corpus della pittura medievale a Roma studia un periodo storico a forti contrasti. La storia inizia infatti dagli anni del pontificato di Innocenzo III: papa autoritario, di lucida visione teocratica e di vasti disegni politici, che proclama l'universalita della Chiesa e al tempo stesso bada a consolidare il suo potere temporale, fortificando i territori circostanti a Roma, estendendo l'autorita pontificia sulle regioni limitrofe, facendo insomma dello Stato della Chiesa uno stato agguerrito e capace di fronteggiare i pericoli e gli attacchi anche militari. Non meraviglia, in questo quadro ideologico e politico, che Innocenzo III sia anche il papa che mette mano ai piu grandi edifici della citta sacra, Roma, per rifarli e rammodernarli e in questo modo presentare l'immagine di una chiesa tradizionale, ma attuale e rinnovata. Tramite i cantieri innocenziani, Roma viene toccata da una potente ondata bizantineggiante, originata dal risalire degli artisti che erano stati attivi nei cantieri normanni di Palermo e Monreale, e che rimasti senza lavoro per la fine della potenza normanna in Sicilia e Italia meridionale vanno a cercarne la dove l'attivita e piu intensa, e quindi specialmente a Roma. Subito dopo pero le cose cambiano, e la cultura dell'Europa gotica comincia a premere anche alle porte della Citta per definizione piu tradizionalista di tutte. Nei decenni centrali del Duecento una vera e propria invasione di temi e iconografie rinnovate si verifica, negli edifici della citta che li hanno conservati e che sono stati riscoperti anche molto recentemente: il caso del grande ciclo ad affresco nel salone gotico dei Santi Quattro Coronati e emblematico, centinaia di metri quadri di splendida pittura meravigliosamente conservata, ritrovati e rimessi in luce da pochi anni, testimonianza di una cultura pittorica modernissima e raffinata. Il ciclo dei Santi Quattro, insieme ad altri ritrovamenti ugualmente recenti ma di minore entita come ad esempio quello nel convento di San Clemente mette in luce un momento della vita della Roma medievale, fino ad ora considerato 'vuoto' e privo di testimonianze artistiche; e segnala con grande evidenza la ricchezza e la modernita della pittura che si faceva a Roma, nelle cerchie dei papi, dei cardinali, nei loro palazzi fortificati e nelle loro chiese, anche quando il papa, con la curia, era esule e rifugiato altrove, anche quando la citta di Roma viene a lungo abbandonata dalla corte pontificia che preferisce sedi e palazzi come quelli di Viterbo o di Orvieto, piu lontani dalla minaccia federiciana. Mette in luce, anche, quanto 'gotica' sia stata la tradizionalissima cerchia dei papi: proprio perche la corte pontificia era, appunto, una corte, attorno a papi che nei decenni centrali del Duecento sono spesso francesi, in contatto con la cultura d'oltralpe, e si fanno tramite dell'arrivo di oggetti e di testimonianze del gusto nordico. Il volume si chiude con gli avvenimenti di un pontificato quello di Nicolo III Orsini che dura pochi anni, dal 1277 al 1280, ma che rappresenta un nuovo momento di importanza fondamentale per la storia della cultura e dell'arte a Roma. A differenza di molti suoi immediati predecessori, Nicolo Orsini non e francese, non e forestiero: e romano, di nobile famiglia, e il programma del suo regno e tutto volto a riprendere in mano la Citta, a riconsiderarne le tradizioni, a riproporre con forza l'immagine di un'autorita pontificia che e indissociabile dall'idea di Roma. Non molti anni fa, la riscoperta e il restauro degli affreschi del Sancta Sanctorum al Laterano che sono naturalmente compresi in questo volume - mostrarono con chiarezza a quale livello di qualita e di densita simbolica fosse arrivato questo papa, committente della cappella e della sua decorazione a mosaico e ad affresco, pur in un tempo cosi breve di regno. Languages : Italian.‎

‎Proportions. Science, Musique, Peinture et Architecture,‎

‎Turnhout, Brepols, 2012 Paperback, 461 p., 140 b/w ill., 210 x 270 mm. ISBN 9782503542218.‎

‎Le langage des proportions est un langage de comparaison. Outil scientifique, il met en relation grandeurs mathematiques ou physiques (deux cercles, deux mouvements, deux sons, etc.). Pour autant, son application ne se restreint pas au seul champ des mathematiques. Erige en principe philosophique par le principe de comparaison qui le sous-tend, il deploie tout son potentiel analogique en devenant langage constructeur d'harmonie. La theorie des proportions s'ouvre ainsi sur un vaste champ de relations qui definissent canons et regles de beaute dans les diverses disciplines artistiques. S'interesser aux proportions signifie donc s'interesser a tous les domaines du savoir. Mais comment aborder et comprendre, dans un dialogue transversal, sa dimension historique ? Tel est le pari de ces essais, issus du LIe Colloque International d'Etudes Humanistes du Centre d'Etudes Superieures de la Renaissance de Tours. De la renaissance menee par les Calculatores d'Oxford sous l'egide d'Aristote, a la Renaissance des peintres et des musiciens, des architectes et des alchimistes, des marchands et des erudits, jusqu'a l'aube de la Revolution scientifique, les specialistes ici reunis eclairent la notion de proportion en tant qu'objet de theories mathematiques, en tant qu'outil dans tous les domaines du savoir et en tant que principe au coeur de constructions philosophiques ou artistiques. Language : French, English, Italian.‎

‎Bewegungsdarstellung und Bildaufbau in der Malerei um 1500‎

‎Würzburg, Richard Mayr 1937 83pp., 22cm., text in German, Doctoral Dissertation (Inaugural-Dissertation zur Erlangung der Doktorwürde der Hohen Philosophischen Fakultät der Friedrich-Alexanders-Universität Erlangen), text at verso of title page, text is clean and bright, S110420‎

‎ALFONS VERMEIR monografie.‎

‎Antwerpen, A. Vermeir, 1980 Linnen, bruin met goudopdruk, 24,5x29,5cm, 288pp.met stofomslag, in goede staat, ‎

‎Omvangrijke monografie met veel afbeeldingen en bijdragen. Tentoonstellingen, verkochte schilderijen, kritieken, beknopte bibliografie. Boek is in goede staat. ‎

‎Dutch landscape painting of the seventeenth century.‎

‎, Edingburgh, Phaidon, 1968** , Bound, original cloth, gilt title on plate and spine, dust - jacket illustrated n/b, 19x27cm,‎

‎The Dutch Scene. Foreign Lands. Nocturnes. Book is in good condition.‎

‎Dutch landscape painting of the seventeenth century‎

‎London, Phaidon 1968 x + 494pp.with 369 bl/w illustrations out of text, 2nd edition, hardcover (editors cloth), dustwrapper, few foxing at edges, else in very good condition, S84608‎

‎Het Lam Gods ; een recent onderzoek met verrassende resultaten. De echo van het "Lam Gods" van de gebroeders van Eyck in Spanje & "Hier sagh men schilders jongh en oudt en alle constbeminders omtrent swermen"‎

‎Maaseik, 1990 91pp.geïllustreerd, 25cm., gebroch., in de reeks "RAM - Rapport" nr.4, goede staat, S85252‎

‎Getijdenboek voor Etienne Chevalier - Jean Fouquet (Musée Condé, Chantilly)‎

‎Utrecht-Antwerpen, Het Spectrum 1971 128pp. met 47 ingekleefde kleurenillustraties van miniaturen, 28cm., linnen band, in linnen etui, goede staat, R97512‎

‎IMPRESSIONISME EN SYMBOLISME. DE BELGISCHE AVANT-GARDE 1880 - 1900,‎

‎, Antwerpen / Londen, Pandora / Royal Academy of Arts, 1994, Gebonden in blauw linnen onder geillustreerde stofomslag, frontispice in kleur, 245 x 290mm., 295pp., zeer uitgebreide illustratie in kleur en z/w. ISBN 9053250182.‎

‎Deze catalogus werd gepubliceerd naar aanleiding van de gelijknamige tentoonstelling in The Royal Academy of Arts, Londen, 7 juli 1994 - 2 oktober 1994 en behandelt de evolutie van impressionisme naar symbolisme en de veelheid van benaderingen en accenten van stijlen en kunstenaars ertussenin. ‎

‎VLIEGHENDE VAENDELS., Wenceslas Cobergher.‎

‎, Hulst, Uitgeverij 'De Maelstede', 1994., Originele geillustreerde uitgeversomslag z/w, 17x24cm, 48pp, geillustreerd in kleur en z/w. ISBN 9080163422.‎

‎Hulst in 1596 geschilderd door Wenceslas Cobergher.‎

‎COBRA. GESCHIEDENIS, VOORSPEL EN BETEKENIS VAN EEN BEWEGING IN DE KUNST VAN NA DE TWEEDE WERELDOORLOG.‎

‎Amsterdam, De Bezige Bij., 1985/1990 Originele geillustreerde uitgeversomslag in kleur, 18x21,5 cm., 412 pp., geillustreerd in z/w en kleur, bibliografie, register, naschrift auteur. ISBN 9023451597.‎

‎Gothic Manuscripts: 1260-1320. Part One , two volumes. A Survey of Manuscripts Illuminated in France. ‎

‎, Brepols - Harvey Miller, 2013 hardback, cloth. with dusjackets, 2 volumes., 1130 pages ., 838 b/w ill. 77 colour ill., 230 x 330 mm, Languages: English, A Survey of Manuscripts Illuminated in France. ISBN 9781872501956.‎

‎This book traces the cultural context of book illustration, its production, owners, and makers in the various regions of France in the last third of the thirteenth and beginning of the fourteenth centuries. The period c. 1260-1320 marks the emergence and the flowering of what has come to be known as the ?courtly style? in French painting, whose dynamic vitality is manifest throughout the region we now call France. By the end of this period French art had assimilated a rich variety of regional works and styles. New texts had been introduced to a range of patrons, and patterns to be played out in the following centuries were in place. This book traces the cultural context of book illustration, its production, owners, and makers in the various regions of France in the last third of the thirteenth and beginning of the fourteenth centuries. While the royal, courtly, academic and ecclesiastical patrons were critical to the cultural and artistic production of the capital, books made in provincial centres manifest an independence and originality that can be attributed to fruitful interaction with neighbouring cultures?the linguistic, literary, and artistic traditions of England in the north and west, Navarre, Aragon, the county of Barcelona and the Kingdom of Majorca in the Pyrenean regions, and the Empire along the eastern borders, from the principalities of North Italy and the Alpine regions to Burgundy, Hainaut and Flanders. Ecclesiastical boundaries cut across political divisions, contributing different sets of allegiances that impacted upon book culture in other ways. The Provinces of Reims and Tarantaise included fiefs of Empire, while Narbonne (to 1317) encompassed dioceses in Aragon, and the Provinces of Bordeaux and Tours lay in part in lands held by the English. The religious orders and the universities offered other sets of governing structures and vehicles of influence and reception. Royal and courtly patrons took their place in this period alongside churchmen and women and layfolk from the burgeoning bourgeois class, many of whom are known from ownership notes or inventories. Yet some of the finest books of the period were made for people whose identity remains obscure. Similarly the names of craftsmen?scribes, decorators, illuminators?are often known from their signatures in the books they made or from payments and other records, yet many distinguished works are the products of anonymous creators. These years witnessed an explosition in the range of texts that were deemed worthy of illustraton, extending far beyond the usual liturgical and devotional material to include works of science, medicine, law, philosophy, history and literature in verse and prose, offering a wealth of material for comparative study which is only beginning to be exploited in modern scholarship. This book is organized according to production in regional centres based on stylistic analysis and by comparative tables of the illustration of liturgical and devotional books, and a selection of romances, legal and historical works. Part 1 comprises the Introduction, the Lists of the Producers (scribes, illuminators and decorators) and Patrons whose names are known, followed by a Catalogue of Manuscripts made in the North (Paris and the Province of Sens, Normandy, the Province of Reims). Part 2 contains the Catalogue of Manuscripts made in the East, South-East, South-West, West and Centre, followed by the Comparative Tables and Index of Manuscripts Cited. Alison Stones is Professor of History of Art and Architecture at the University of Pittsburgh, a Fellow of the Society of Antiquaries of London and a membre correspondant etranger of the Societe nationale des antiquaires de France. ‎

‎SEPTEMBER. A HISTORY PAINTING BY GERHARD RICHTER,‎

‎UK, Tate Trustees, 2010 Paperback, 180 x 222mm., 96pp., 80 colour illustrations. ISBN 9781854379641.‎

‎Gerhard Richter is one of the most influential artists of the second half of the twentieth century and is still at the forefront of painting today. His painting September is a response to the bombing of the World Trade Centre on September 11, 2001, made some four years after the event. The eminent American critic and curator Robert Storr, who has had a long working relationship with Richter, explores both the painting and the event itself, through a very personal account of his experience of being in New York on the day of the bombing. Storr shows, both through words and comparative illustrations, how this painting is part of a current running throughout Richter s career responding to traumatic and controversial events, including works based on the bombing of cities in World War II and the capture of the Baader-Meinhof terrorist group. With a foreword by Sir Brian Urquhart. English edition. New book.‎