‎GAUGUIN ET LE MYTHE DU SAUVAGE ‎

‎Paris Flammarion, Arthaud 1988 in 4 (28x24) 1 volume reliure cartonnée de l'éditeur sous jaquette en couleurs, 127 pages, avec de nombreuses illustrations en noir et blanc, et en couleurs. Texte inédit d'Isabelle Cahn. Edition hors-commerce. Tirage limité numéroté. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Jaquette en très bon état Reliure Ed. numérotée ‎

‎Gustave Caillebotte. 1848-1894.‎

‎Réunion Des Musées Nationaux. 1994.375 pages; Volume produit à l'occasion d'une exposition présentée aux Galeries nationales du Grand Palais de septembre 1994 à Janvier 1995 et au Art Institut de Chicago, de février à mai 1995. Abondamment illustré en noir et en couleurs‎

‎Bon état général. Intérieur agréable et bien conservé. Jaquette en bon état également. ‎

‎FELIX DE BOECK. VAN PUNT TOT CIRKEL. ** gesigneerd **‎

‎Brussel, De Vrienden van Felix De Boeck/Koninklijke Musea voor Schone Kunsten van Belgie, 1981 witte kartonomslag, 175 x 240 mm., 56 pp., mooie en uitgebreide illustratie in kleur en z/w. **GESIGNEERD DOOR FELIX DE BOECK‎

‎Tentoonstelling ingericht door " De Vrienden van Felix De Boeck v.z.w. ", van vrijdag 27 maart tot en met zondag 3 mei 1981. in prima staat.‎

‎Le Realta Del Caravaggio (Saggi Band 732)‎

‎Einaudi 1990 478 pages 17x21 6x4 5cm. 1990. Cartonné jaquette. 478 pages.‎

5 Images

‎jaquette défraîchie tachée de rousseurs déchirure sur le premier plat intérieur propre‎

‎L'OPERA COMPLETA DEL BELLOTTO ‎

‎Milano (Milan) Rizzoli Editore 1974 in 4 (31,5x24) 1 volume reliure cartonnée illustrée de l'éditeur, 128 pages, avec 62 planches en couleurs (tavole a colori a piena pagina), et 300 reproductions en noir et blanc d'oeuvres documentées (ill. in nero nel testo). Texte en langue italienne. Presentazione di Ettore Camesasca; Apparati critici e filologici di Guido. Collection ''Classici dell'Arte'', 78. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Pas de jaquette Reliure ‎

‎TOUT L'OEUVRE PEINT DE MICHEL-ANGE ‎

‎Paris Flammarion 1967 in 4 (24x31,5) 1 volume reliure cartonnée de l'éditeur sous jaquette en couleurs, 112 pages, 64 planches en couleurs, et 167 illustrations en noir et blanc (9 pour la chronologie, 117 pour le catalogue des oeuvres, 41 pour l'appendice Michel-Ange sculpteur et architecte). Introduction par Charles de Tolnay. Documentation par Ettore Camesasca. Collection: ''Les Classiques de l'Art''. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Jaquette en très bon état Couverture rigide ‎

‎Byzance et la Peinture Romane de Germanie. Apports de l'Art Grec posticonoclaste à l'enluminure et à la fresque ottoniennes et romanes de Germanie dans les thèmes de majesté et les Evangiles‎

‎Paris, Picard 1966 xv + 360pp. + 84 planches hors-texte, 28cm., brochure originale, bon état, poids: 1.4kg., S102506‎

‎Variations sur des th mes impopulaires‎

‎Anvers, Ca Ira, 1939 Plaquette in-8, agraf e, couverture rempli e, 40 pages. Edition originale. Un des 100 exemplaires sur papier Featherweight. Num ro 10. 19.5 x 16 cm‎

‎1 de 100 exemplaires numerotes. tirage limite. N 10‎

‎EDGAR FERNHOUT.‎

‎Amsterdam, Meulenhoff, 1969 Broche, sous jacquette originale d'editeur en couleurs, 24x17 cm., 11 pp. + VI illustrations en couleurs + 20 illustrations en n/b.‎

‎VAN DER WEYDEN.‎

‎, London, Chaucer Press, 2004., Bound, blue cloth with gold impression, illustrated dustjacket, frontispice in colour, 235 x 290mm., 128pp., beautiful and profound colour illustration. ISBN 1904449247.‎

‎Rogier Van der Weyden emerged from scholarly and critical neglect only with the revival of interest in the so-called Flemish Primitives during the second half of the nineteenth century. The immensely forceful, frequently disturbing images which Van der Weyden produced owed as much to his supreme control of paint as they did to his observation of detail, which was never permitted to dominate the general rhythm and pattern of the picture itself. These qualities fused to create a style with a direct impact but one which was the result of only the most subtle and painstaking calculations of color and balance. Dr Campbell explores Van der Weyden???s position both as official painter to the city of Brussels and within the international system of princely patronage which was evolving during his lifetime. New condition. ‎

‎LES IDOLES DE CAMPIGLI ‎

‎Bruxelles Galerie de France 1961 in folio (31,5x24) 1 volume broché, couverture illustrée, 40 pages [3], avec de nombreuses reproductions hors-texte en noir et blanc et en couleurs. Max Ihlenfeld dit Massimo Campigli, Berlin 1895 - Saint-Tropez 1971, peintre italien. Catalogue édité à l'occasion de l'exposition des oeuvres de Campigli présentée à la Galerie de France en mai 1961. Tirage limité à 1500 exemplaire numérotés. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Broché Ed. numérotée ‎

‎L'art roman dans les collections du MNAC‎

‎Museu Nacional d'Art de Catalunya 2011 221 pages in-4. 2011. cartonné. 221 pages. Illustrations en couleurs‎

‎Etat correct. Un coin du plat arrière heurté et quelques pages cornées en coins sinon bon état‎

‎L'OPERA COMPLETA DEL CARPACCIO ‎

‎Milano (Milan) Rizzoli Editore 1967 in 4 (31,5x24) 1 volume reliure cartonnée illustrée de l'éditeur, 120 pages, avec 64 planches en couleurs (tavole a colori a piena pagina), et 300 reproductions en noir et blanc d'oeuvres documentées (ill. in nero nel testo). Texte en langue italienne. Presentazione di Manlio Cancogni; Apparati critici e filologici di Guido Perocco. Collection ''Classici dell'Arte'', 13. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Pas de jaquette Reliure ‎

‎MAGRITTE, MARIEN, HAAR ZIELSVERWANTEN. Magritte, Marien, haar zielsverwanten‎

‎Brussel, Koning Boudewijnstichting, 2008 softcover geillustreerde kartonomslag in kleur, 175 x 240mm., 108pp., zeer uitgebreide illustratie in kleur en z/w. ISBN 9789051306170.‎

‎Volgens de wens van Jacqueline Nonkels publiceert de Koning Boudewijnstichting haar correspondentie met Marien in 'Magritte, Marien, haar zielsverwanten'. Deze publicatie is opgevat als een herinneringsboek en staat ons toe de Brusselse surrealisten en meer bepaald Rene Magritte en Marcel Marien te ontdekken vanuit een ander oogpunt. In de publicatie zijn onder meer schetsen, collages, foto's en liefdesbrieven opgenomen, die getuigen van de alomtegenwoordige creativiteit van de surrealisten, tot in het dagelijks leven. ‎

‎Francisco de Zurbaran 1598-1664‎

‎Brussel, Bozar Books/ Mercatorfonds 2014 248pp. rijkelijk geïllustreerd in kleur, tekst in het Nederlands (text in Dutch), 32cm., gecart. uitgeversband, zeer goede staat, [Catalogus van gelijknamige tentoonstelling, Brussel, Paleis voor Schone Kunsten, 29 januari - 25 mei 2014], S95197‎

‎The historical photographic archive of Stefano Bardini. Greek, etruscan and roman art. Translated by Michael Rocke. Comune di Firenze, Assessorato alla Culture Belle Arti Musei, Museo Stefano Bardini.‎

‎ Firenze, Alberto Bruschi 1993 300x230mm, XXIV - 226pages, editor's binding with jacket. With editor’s board. Exemplar as new.‎

‎ b/w photographs, Pour un paiement via PayPal, veuillez nous en faire la demande et nous vous enverrons une facture PayPal‎

‎Francis Bacon : l'atelier‎

‎ Lausanne, La Bibliothèque des Arts, 2006. In-4, 239 pp., cartonnage éditeur de toile grise, jaquette originale illustrée (petits frottements). ‎

4 Images

‎Édition originale de la traduction française de cette monographie relative aux oeuvres du peintre Francis Bacon. Elle comprend de nombreuses illustrations en noir et en couleurs des oeuvres en question mais aussi de portraits de l'artiste à l'ouvrage et de son atelier. Voir photographie(s) / See picture(s) * Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte du lundi au vendredi de 14h à 19h. Merci de nous prévenir avant de passer,certains de nos livres étant entreposés dans une réserve. ‎

‎LINO SALTINI.‎

‎, Milano, Edizioni P. Petrus, 1976., Broche, couverture d' editeur, 21,5x21,5cm, s.p., illustre en couleur et n/b.‎

‎Collana d' oro maestri del mediterraneo.‎

‎LA BELLE EPOQUE AU TEMPS DE BRUANT.‎

‎, Paris, Gallimard, 1954., Broche, couverture d' editeur illustre n/b., 14x20,5cm, 177pp, illustre n/b.‎

‎The Landscape Vision of Paul Nash (Essays in Art & Culture)‎

‎Reaktion Books 2016 136 pages 14 8x1 2x23cm. 2016. Broché. 136 pages.‎

‎Très bon état‎

‎GEORGES LEMMEN 1865 - 1916, monografie‎

‎, Gent, Gemeentekrediet/Snoeck-Ducaju & zoon, 1997,244, Softcover, 250 x 305mm., 199pp. rijkelijk geillustr. in kleur. Zeer goede staat. ISBN 9789053492451.‎

‎Georges Lemmen (Schaarbeek, 25 november 1865 ? Ukkel, 5 juni (of 5 juli) 1916) was een Belgisch kunstschilder, graveur en illustrator, werkzaam in de stijl van het impressionisme en het pointillisme. Hij vervaardigde stillevens, stadsgezichten, portretten en landschappen.[1] Lemmen studeerde korte tijd aan de tekenschool in Sint-Joost-ten-Node. In 1888 sloot hij zich aan bij de kunstenaarsgroep Les XX in Brussel.[2]In de vroege jaren 90 ging hij, onder invloed van het werk van Georges Seurat en Theo van Rysselberghe, werken in de stijl van het neo-impressionisme. Hij stelde werk tentoon bij Les XX in Brussel en bij de Salon des Independants in Parijs. In Parijs stelde hij tentoon samen met Seurat en Paul Signac. In de tweede helft van de jaren 90 maakte hij zich los van het pointillisme en werkte hij in een meer traditionele impressionistische stijl. Later was hij actief in de toegepaste kunst zoals zijn vrienden Willy Finch en Henry Van de Velde. Hij ontwierp affiches, boeken, behangselpapier enz. Hij gaf het schilderen niet op en evolueerde meer in de richting van Les Nabis. Hij had in 1913 een succesvolle tentoonstelling in Brussel. In 1915 verhuisde hij naar Ukkel, waar hij in 1916 overleed. ‎

‎Scottish Portraiture 1644-1714. David and John Scougall and Their Contemporaries‎

‎, Brepols, 2021 Hardback, 2 vols, 756 pages, Size:225 x 300 mm, Illustrations:1265 col., Language: English. ISBN 9782503597270.‎

‎Summary This book is the first comprehensive publication on Scottish portraiture from the period 1644 to 1714, with an emphasis on the painters David Scougall (1625-1685), and his son John Scougall (1657-1737). It is based on in-depth art historical and archival research. As such, it is an important academic contribution to this thus far little-researched field. Virtually nothing was known about the Scougall portraitists, who also include the somewhat obscure George Scougall (active c. 1690-1737). Thorough archival research has provided substantial biographical information. It has yielded life dates and data on family relations and, also, it has become clear that David Scougall had two parallel careers, as a portrait painter and as a writer (solicitor). The legal community in which the Scougalls were embedded has been defined, as well as an extended group of sitters and their social, economic, and family networks. The book includes a catalogue raisonn of the oeuvre of David Scougall. The most important contemporaries of the Scougalls were the portraitist L. Sch neman (active c. 1655/60-1667 or slightly later), his successor James Carrudus (active c. 1668-1683 or later), whose work is identified for the first time in this book, David Paton (c. 1650-in or after 1708), Jacob Jacobsz. de Wet (1641/42-1697) and Sir John Baptist Medina (1659-1710). Their lives and work are discussed. An extensive survey of Scottish portraits, with an emphasis on the work of the Scougall painters, is presented for the period 1644 to 1714. Numerous attributions to various artists and sitter identifications have been established or revised. An overview of the next generation is provided, in which the oeuvres and biographical details are highlighted of the principal portrait painters, such as William Aikman (1682-1731), Richard Waitt (1684-1733) and John Alexander (1686-1767). Countless paintings have been photographed anew or for the first time, and have been compared in detail, which had hardly been done before, while information is also included on technical aspects and (original) frames. The resulting data have been complemented by analysing the social and (art-) historical context in which the portraits were made. The works of the portrait painters in Scotland from this period, as this book shows, now form a solid bridge between the portraits painted prior to George Jamesone's death in 1644, and those by the renowned Scottish painters of the eighteenth century. TABLE OF CONTENTS VOLUME I Abbreviations - Foreword - Acknowledgements Introduction Current State of Published Research on the Scougalls and Their Circle and the Appreciation of Their Work Through the Centuries The Elder Scougall/Old Scougall and the Younger Scougall Dates and Scarcity of Known Archival Material Artistic Context: Painting in Scotland, the Start of a Portrait Tradition, c. 1575-1660 David Scougall (Edinburgh, 1625-1685), His Life and Career Emerging from the Shadows Father and Son, John (d. after 13 October 1627) and David (1625-1685) Writer and Painter Family Patrons The Outset of a Career Father and Son, David (1625-1685) and John (1657-1737) The Advocate's Close The Profession of a Writer or Clerk in the Time of David Scougall The Profession of a Painter in the Time of David Scougall Possible Teachers and Family Creativity Decline and Death Skougall or Scougall Personal Network, Legal Community and Further Family Relations John Scougall (Edinburgh, 1657-1737), His Life and Career A Long and Prosperous Life Becoming a Limner Family Patrons Increased Prosperity Lack of Competition 1694: A Year of Important Changes Decline in Skill and Death David Scougall: The Oeuvre, Characteristics, Development and Sources of Inspiration The Outset of a Career Core Works, the Basis for a Compilation of the Oeuvre Associated Works Miniatures or Pocket Pictures Stylistic Features and Motifs Consistency in Style Late Works, 1675-1685 Technical Aspects of David Scougall's Paintings Technical Research and Painting Technique Painting Materials David Scougall as a Copyist Costumes and Jewellery Use of Motifs from Portraits by Other Painters No Inventor, but Painting Real People Production Studio Practice and Legal Community John Scougall: The Oeuvre, Characteristics, Development and Sources of Inspiration The Early Years Indisputable Works Associated Works Use of Motifs from Portraits by Other Painters Stylistic Features and Motifs Technical Aspects of John Scougall's Paintings Technical Research and Painting Technique John Scougall as a Copyist Production Mending and Washing Studio Practice and Apprentices George Scougall (b. 1670?, active c. 1690- c. 1737) Lack of Biographical Data In the Studio of John Scougall Inadequate Traces of Work Clients/Sitters Nobility and Clergy Clients and Religious Beliefs Loyal Patrons Bonding Portraits Competition from Abroad Ladies and Gentlemen Portraying Children Problems in Sitter Identification Known Sitter, but Problem in Period and Handling Portraits Telling the Truth? Scougall's Clients, Where Were They Based, and the Painter's Studio Backs and Frames The Back of the Painting Period Frames Prices for Portraits and Frames Prices for Portraits by David Scougall 1664-1683 Prices for Portraits by John Scougall 1674-1728 Prices for Frames The Contemporaries of the Scougalls John Michael Wright (1617-1694) L. Sch neman (active c. 1655/60-1667 or shorty after) James Carrudus (active 1671 or earlier-1683 or later) David Paton (c. 1650-in or after 1708) Thomas Murray (1663-1735) Jacob Jacobsz. de Wet (1641/42-1697) Portraits, Painters Unknown Painters, Portraits Unknown Sir John Baptist Medina (1659-1710) The Next Generation William Aikman (1682-1731) Richard Waitt (1684-1733) John Alexander (1686-1767) John Smibert (1688-1751) And Beyond Summary and Conclusion Appendices Appendix I The Scougall Family, Reconstruction of the Family Tree Appendix II Transcriptions of Various Archival Documents Concerning the Scougall Painters Appendix III The Mysterious Portrait of 'John Scougall' Appendix IV Transcription of the Memoir by Sir John Clerk of Penicuik, 1st Baronet (1649-1722) of His Wife Elizabeth Henderson, Lady Clerk (1658-1683) ? VOLUME II Catalogue Raisonn of the Paintings by David Scougall (1625-1685) Introduction Glossary Catalogue A Authentic Works Catalogue AW Works Known Only from Written Sources Catalogue B Copies by David Scougall After Works by Others Catalogue C Doubtful Works Catalogue D Works Known Only Through Copies and Prints Catalogue E Rejected Works Concordance Notes Bibliography Websites Guides to Houses and Other Venues Exhibitions Inserted Details Index‎

‎Felsina pittrice: The Lives of Francesco Francia and Lorenzo Costa‎

‎, Brepols - Harvey Miller, 2022 Hardback, xxxiv + 410 pages, Size:220 x 280 mm, Illustrations:14 b/w, 163 col., Language(s):English, Italian. ISBN 9781912554799.‎

‎Summary In Bologna, Giorgio Vasari's maniera moderna is inaugurated through the art of the goldsmith-painter Francesco Francia (c.1447-1517). Malvasia assimilates the beginning of this new era with the end of night and the crack of dawn, when never before seen colors are revealed to the eyes with extraordinary intensity. In his life of Francia, Vasari had acknowledged the role of precursor played by this Bolognese master in the history of Italian painting. By the same token, he had tarnished Francia's reputation by alleging that he had died soon after unpacking Raphael's Ecstasy of Saint Cecilia upon its arrival in Bologna. His death, Vasari insisted, was a moment of reckoning: it was then that Francia recognized his artistic inferiority and damnation with regard not only to Raphael, but also to the highest achievements of the maniera moderna. Aware of the historical validity of Vasari's account, Malvasia ?lifted? it wholesale into his Felsina pittrice, but not without bringing its author to trial by examining his biased testimony in light of the rich documentary evidence he had gathered against his narrative. Equipped with the most refined tools of forensic eloquence, seething with outrage, Malvasia is at his best in challenging Vasari's historical distortions and prejudices not only in connection with Francia, but also his disciples, Timoteo Viti (1469-1523), Lorenzo Costa (1460-1535), and Giovanni Maria Chiodarolo (1480-1530). Denouncing Vasari's silence about the works and importance of Francia's progeny--in particular Giacomo (1484-1557) and Giovan Battista Francia--Malvasia explains how the activity of these masters promoted the education and social status of painters in Bologna before the foundation of the Carracci Academy in 1582. Illustrated with numerous color images (many of them taken expressly for this publication), this volume provides a critical edition and annotated translation of Malvasia's lives of Francia and his disciples, among them prominently Costa. The integral transcription (for the first time) in this volume of Malvasia's preparatory notes (Scritti originali) to the lives of Francia, Costa, and Chiodarolo presents important material that could foster the study of Bolognese painting in the age of humanism under the rulership of the Bentivoglio.‎

‎Felsina Pittrice: Volume IX: Life of Guido Reni‎

‎, Brepols - Harvey Miller, 2019 Hardback, 2 vols, 1152 pages, Size:220 x 280 mm, Illustrations:9 b/w, 367 col., Languages: English, Italian. ISBN 9781909400696.‎

‎Summary Celebrated by Malvasia as the creator and promoter of the new maniera moderna, Guido Reni (1575-1642) introduces the fourth age of painting: a period marked by an original and sometimes bold elaboration of the notion of artistic perfection developed by the Carracci and embodied more specifically by Ludovico's "synthesis of styles." Art in Italy could have declined once again after the deaths of the Carracci, but thanks to Guido and Domenichino, Francesco Albani and Guercino, painting is restored to its full blossoming, and, as a result, the Carracci lesson spreads and triumphs throughout Italy. In assessing Guido's role in promoting this artistic vanguard, Malvasia finds himself in a theoretical impasse. On the one hand, he cannot resist his infatuation with Guido's work. Endowed with spellbinding powers, Guido's paintings constitute the greatest luxury of modernity insofar as they reflect an endless search for aesthetic refinement and transcendental beauty both in the representation of the human body and in the orchestration of light, color, and impasto. On the other hand, Malvasia balks at embracing Guido's "last manner." In Malvasia's eyes, Guido's final production is both exceedingly sophisticated and tainted by its very sophistication: delicacy verges on feebleness, transcendence coalesces into purposeless abstraction, divine vision engenders incompleteness, and sprezzatura turns into apparent negligence. Furthermore, for Malvasia Guido is both a paragon of virtue and the self-indulgent victim of the gambling demon. With acuity, Malvasia praises Guido the money maker, the self-confident artist able to overhaul the mechanisms of the art market by exponentially increasing the value of painting. And yet, Malvasia cannot help but condemn Guido the money squanderer, the indebted painter who gambles away his reputation and jeopardizes the quality of his sublime output. Illustrated with numerous color images, these two volumes provide a critical edition and annotated translation of Malvasia's life of Guido. Based on a radical reassessment of the historical documentation and a profound investigation of Malvasia's art criticism, these volumes offer the most thorough treatment to date of the artist's work.‎

‎Premières aquarelles : paysages de Bretagne‎

‎OUEST FRANCE 2010 64 pages 17 6x1 6x23 4cm. 2010. Broché. 64 pages.‎

‎Bon état‎