‎Le pitture murali della Cappella San Martino a Carugo (Mariano Comense) ; tra iconografia e storia‎

‎Rome, Nuova Argos Edizioni 2000 295pp., with 99 illustrations, 24cm., softcover, text in Italian, Doctoral Dissertation (Université de Lausanne), stamp at verso of title page, text is clean and bright, good condition, S110419‎

‎JAN VAN KESSEL (1641-1680), catalogue raisonne. ‎

‎, Davaco, Aetas Aurea, Vol. X, 1993, Cloth bound with dusjacket, 4to. VIII, 335 pp. text and 411 ills. on 244 plts. (11 in color). fine condition! ISBN 9070288818.‎

‎JAN VAN KESSEL is a monograph and catalogue raisonne introducing a little-known but talented Amsterdam follower of Jacob van Ruisdael. Many art professionals outside of the speciality of seventeenth- century Dutch landscape do not realize that he existed, with the result that his works sometimes are assigned to the contemporary (but unrelated) Antwerp painter of the same name. The monograph text starts with a critique of the artist's reception to date, both in terms of the public exhibition of his work and the appraisals of him in scholarly literature. Next, his biography is updated using primary and secondary sources, including un-published data from the Amsterdam Municipal Archives. Then, Jan van Kessel's paintings and drawings are given a general introduction, with special attention paid to the development that occurred in the way he signed his name. The main body of the monograph is devoted to his art, presented chronologically from the artist's documented start in 1661 until his early death in 1680. The catalogue raisonne contains fully documented entries with discussions up to a thousand words in lenght. The 290 works catalogued are organized into six sections: Authentic, Problematic, Doubtful Paintings, Authentic Drawings, Problematic Drawings, Doubtful Drawings (26). As new!‎

‎TREASURES OF RUSSIAN ART OF THE 11TH-16TH CENTURIES.‎

‎Leningrad , Aurora, 1970 Bound, cloth, illustrated paper jacket, 200 x 280 mm., 288 pp., profoundly illustrated in colour and b/w.‎

‎Dedication from former owner on title page. Beautiful book, in good condition.‎

‎DIE DRESDNER GALERIE. ALTE MEISTER.‎

‎Dresden, Verlag der Kunst, 1966 Gebunden, Leinen mit Schutzumschlag, 230 x 275mm., 428S., illustriert.‎

‎Alpatow : Die Dresdner Galerie - Tafeln - Stimmen uber die Dresdner Galerie. Deutsche Stimmen. Russische Stimmen. Franzosische Stimmen. Anmerkungen - Abbildungsverzeichnis - Register. Guter Zustand.‎

‎HET VROEGSTE WERK VAN RUBENS.‎

‎, Brussel, Paleis der Academien, 1972. (db)., Gebrocheerd, originele uitgeversomslag beduimeld, 18x26cm, 23pp + 35 platen z/w.‎

‎Medelingen van de Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van Belgie. Klasse der Schone Kunsten, jaargang XXXIV, n? 2.‎

‎VINCENT VAN GOGH.‎

‎, Paris, Imprimerie des Arts et Manufactures, 1988,, relie en toile verte sous jacquette d'editeur illustree, frontispice, 245 x 345mm., 108pp., illustrations en couleurs hors texto et b/n in texto ISBN 9782867600173.‎

‎Texte francais par Pierre Crevecoeur. Introduction. Illustrations. Chronique de la vie. Table des illustrations. Bon etat.‎

‎Harvey Miller. Painting Restoration before - La Restauration - The Origins of the Profession in France,‎

‎Turnhout, Brepols, 2012 Hardback, 320 p., 240 b/w ill., 23,8 x 28. ISBN 9781905375349.‎

‎During the latter half of the eighteenth century, especially the period around and just after the French Revolution, what was happening in France in the field of painting restoration influenced all of Europe. In 1750 the museum in the Luxembourg Palace in Paris was opened to the public, and it became necessary to display to the public paintings which had been in storage for years. In the following decades King Louis XVI and his advisor, the Comte d'Angiviller, developed and enlarged the national collection of paintings. And with this came the need for painting restorers doing quality work - more than just the quick repairs as done by painters in the past - and several full-time painting restorers were employed. By the time the museum in the Louvre was opened to the public in 1793, in the midst of the French Revolution, the profession had been established. During the latter half of the eighteenth century, painting restoration techniques improved and French restorers began to travel to England and to other European countries more frequently, spreading their practical knowledge - especially about the lining and transfer of paintings. In Paris, a national concours was prepared to choose the most capable from a growing group of candidates, and in 1802 plans were drafted for a school of restoration. In this book the lives and careers of several of the more well-documented painting restorers for the French Royal Collection are traced one-by-one - including as much as possible about their restoration techniques. Languages : English.‎

‎Painting Restoration Before the Restauration. The Origins of the Profession in France, ‎

‎Turnhout, Brepols, 2012 Hardback, 320 p., 204 b/w ill., 240 x 280 mm. ISBN 9781905375349.‎

‎The art of painting restoration is almost as old as the art of painting itself. Accidents and time inevitably alter the appearance of a painting, and these changes begin as soon as it leaves the artist's easel. Purposeful alterations due to changes in taste have also contributed to transformations that paintings often underwent. Clearly the type of restoration procedures considered ethically acceptable have changed over the centuries. From the Renaissance until the end of the nineteenth century, European paintings were considered as two-dimensional illusions of a three-dimensional space, and any disruption to this illusion was considered as damage requiring repair. There was no acknowledgement of painting supports as an integral part of a picture; only the paint layer and the subject represented were appreciated. As a result, panels were often thinned and cradled in order to flatten the painted surface so that the image depicted could be viewed with less distraction. Supports were even considered replaceable. Total transfer of a painted surface onto a new surface was an acceptable procedure in the eighteenth century - even until the mid-twentieth century. Invisible retouching was used with the intent of returning the illusion of the painted surface to its 'original state'; the history of the work was not important. Until recent times, it was even acceptable to alter the format of a work of art to fit a frame or a space on the wall. Traditionally, if a painting was accidentally damaged or if 'adjustment' were required, a painter was entrusted with this task. In the past, the professions of painter and painting restorer overlapped, and both were trained as apprentices. Gradually the professional painting restorer appeared in Europe, and by the mid-eighteenth century, the profession was established. Earlier examples of professional restorers, especially in Italy, have been recorded while in other European countries, such as Britain, the career of the professional painting restorer began much later. During the later part of the eighteenth century in France, the painting restorers of the French Royal Collection became celebrated throughout Europe for their achievements. The political situation had an important influence on the development of the profession in France. The reigns of Francois I (1515-47), Louis XIV (1643-1715), Louis XVI (1774-93), and then the coup d'etat by Napoleon Bonaparte and the First Napoleonic Empire (1804-14) led to an increasing centralisation of the French Empire. The arts were meant to reflect the power of the state; thus Louis XIV and his political advisor and Surintendent from 1661 to 1685, Jean-Baptiste Colbert (1619-83), became the patrons of the French Academie de Peinture et Sculpture founded in 1648. A revision of the Academy's statutes in 1665 required students to submit annually drawings that focused on the heroic actions of the king. Paintings conferred status on their owner - in this instance the king and the French nation. It then became a necessity to have the paintings on display looking their best, and the skill of the French painting restorers was even used as a justification for Napoleon's policy of confiscation of works of art from all over Europe. The relationship between the French government's administration, firstly under the Ancien Regime, then under the new Republic, and the painting restorers they employed and supervised is related in this book. The manner in which changes occurred involves colourful personalities whose stories are often amusing and sometimes poignant, but above all they help us to understand the present-day situation. For during the turbulent years of the French Revolution new patterns emerged, which to a large extent remained in place in France for over two centuries. New book.‎

‎Re-Making the Margin. The Master of the David Scenes and Flemish Manuscript Painting around 1500‎

‎Turnhout, Brepols, 2012 Hardback, 250 pages., 150 b/w ill. + 32 colour ill., 210 x 297 mm. ISBN 9782503516844.‎

‎The subject of the present publication is the working practices of the Ghent-Bruges illuminators, active in Flanders in the decades around 1500. Its focus is on manuscripts featuring freestanding, isolated motifs painted in the margins of text pages. The author traces how this decorative system was created by the Master of the David Scenes in the Grimani Breviary, a prolific inventor of appealing borders; how it was applied by his closest collaborators, and how it was imitated and adapted by other illuminators. Among these were Simon Bening, the Carmelite sister Cornelia van Wulfschkercke, and a number of anonymous masters, including several whose oeuvres are identified here for the first time. The author elucidates the sources for the isolated motifs and demonstrates how the codicological structure of the manuscripts provides insight into the use and the dispersion of various models for border decorations. The book discusses the famous strewn-flower borders and other types of fully decorated borders as well. The author analyses the isolated motifs in relationship to the page lay-out and the decorative programme of Ghent-Bruges standardised books of hours. The stylistic examination of both the miniatures and the borders of the manuscripts under discussion completes the integrated approach of this study. The author demonstrates how the illuminators collaborated with each other and exchanged artistic models for the illumination of these precious manuscripts. Languages: English.‎

‎NADEZDA PETROVIC ( 1873 ? 1915 ). ‎

‎, Munchen, Bayerische Staatsgemaldesammlungen/Neue Pinakothek Munchen, 1985, Brochiert, 220 x 285mm., 96S., mit zahlr. farb. Abb. im Text.‎

‎Eine Ausstellung des Nationalmuseums Belgrad und der Bayerischen Staatsgemaldesammlungen in der Neuen Pinakothek, Munchen, 1985. Zu Leben und Werk der serbischen Kunstlerin, mit Anmerkungen u. Auswahl-Bibliographie. Gutes Exemplar. ‎

‎Henri IV Series Corpus Rubenianum Ludwig Burchard 14.2 / RUBENS.‎

‎, Brepols - Harvey Miller, 2017 Hardcover with dusjacket. 484 p., 121 b/w ill. + 23 colour ill., 180 x 265 mm, Languages: English. ISBN 9781909400962.‎

‎On 26 February 1622, in Paris, Rubens entered into a contractual agreement to execute two series of paintings, ?by his own hand?, intended to decorate the two parallel galleries of the Parisian palace ? the so-called Luxembourg Palace ? of Maria de? Medici, widow of Henri IV and mother of Louis XIII. Completed in 1625, the twenty-four monumental paintings of the western gallery exalting the life of the Queen Mother form a universally admired ensemble, on display at the Musee du Louvre for the last two centuries. However, the second part of this grand project, envisioned for the eastern gallery of the palace, was abandoned in 1630. The suspension and then premature termination of the project after the Queen Mother?s exile in July 1631 have deprived us of a work that would have been unique, both in its magnitude and in the artistic means Rubens deployed to glorify the royal couple. The Galerie Henri IV, planned as a commemoration of the king?s military victories and a celebration of his triumphs ?in the manner of the triumphs of the Romans? (as the contract has it), remains a puzzle whose missing pieces are more numerous than what is preserved. Still, some fifteen works ? preparatory oil-sketches on panel and large canvases, more or less completed ? have survived. It is above all through the study of these works that this volume aims to arrive at a better understanding of the context, the iconography, and the political significance of the Galerie Henri IV. Despite the frustration (for us, as for Rubens himself) of its abandonment, the unfinished project remains an extraordinary feat of Baroque encomium, and one of the artist?s greatest masterpieces. ‎

‎Un Regain de Traverse‎

‎Apeiron, 2011. 49pp. Petit In-8° broché, largement illustré avec des reproductions et photographies en N&B et en couleur. ‎

‎Bon état général. Intérieur frais et agréable. Quelques marques de stockage.‎

‎DIE GEMALDE DES 19. JAHRHUNDERTS IM WALLRAF-RICHARTZ-MUSEUM.‎

‎Koln, Wallraf-Richartz-Museum, 1964 Broschiert, originale Abdeckung Verlag in Farbe, 23.9x16.5 cm. 306 S., Abbildungen in S/W.‎

‎Kataloge des Wallraf-Richartz-Museum I.‎

‎UN SIECLE D'ART ABSTRAIT. 100 ABSTRAITS BELGES. EEN EEUW ABSTRACTE KUNST. 100 BELGISCHE ABSTRACTEN,‎

‎Brussel, Rene Magrittemuseum, 2010 Gebonden, geillustreerde kartonomslag in kleur, 245 x 300mm., 340pp., geillustreerd. ISBN 9789053253076.‎

‎naar aanleiding van de honderdste verjaardag van de abstracte kunst. Vertrekpunt van deze beweging, een van de meest vernieuwende uit de geschiedenis van de kunst, was een klein aquarel uit 1910 van de hand van Vassily Kandinsky, geschilderd in zijn atelier in Duitsland. Het werkje bracht een kentering teweeg in de wereld van de kunst: men schilderde niet langer het uiterlijk van de dingen, maar eerder hun diepe essentie en de gevoelige blik die wij erop werpen. Deze humanistische en vernieuwende benadering trof tal van Europese kunstenaars. Ze keerden zich massaal af van het figuratieve om een sprong in het onbekende te wagen. Elk Europees land verkende de abstractie op zijn eigen manier. Daarvoor zorgden avant-gardistische groepen waarvan vooral het Duitse Bauhaus, de Nederlandse groep ?De Stijl?, het Italiaanse futurisme en het Franse kubisme de toon aangaven. Daarna bleef het jarenlang stil tot, na de Tweede Wereldoorlog, de abstracte kunst nieuw leven werd ingeblazen door een nieuwe generatie kunstenaars. Dit keer waren de groepen minder homogeen en reisden de kunstenaars van land tot land, op het ritme van ontmoetingen en tentoonstellingen. Tentoonstelling : van 17 september 2010 tot 16 januari 2011. Tweetalige editie Nl/Fr. Nieuw boek.‎

‎LE PEINTRE WILLEM LINNIG, JUNIOR.‎

‎, Bruxelles, Belgique artistique et litteraire, 1907., Broche, couverture d' editeur illustre n/b, 19x24,5cm, 75pp, illustre n/b.‎

‎Ouvrage illustre de 32 planches en phototypie suivi du catalogue de l' oeuvre complete de l' artiste par Ben. Lennig.‎

‎Le peintre Willem Linnig, Junior, suivi du Catalogue de l'oeuvre complète de l'artiste (par Ben. Linnig)‎

‎Bruxelles, La Belgique artistique et littéraire 1907 75pp. illustré de 32 planches en phototypie, tirage limité à 530 exemplaires, ceci est un des 500 ex. sur beau velin vergé, belle reliure demi-toile, titre doré au dos, 24cm., bon état, S94294‎

‎Dictionnaire des peintres et sculpteurs de Provence Alpes Cote d'Azur‎

‎Editions Jeanne Laffitte - Marseille, 2006. Nouvelle édition par Laurent Noet. In-8° sous reliure ne pleine toile bleue. 473pp. ‎

‎Très bon état général. Intérieur frais et agréable, comme neuf.‎

‎BENN : Les amis de l'œuvre du peintre Benn, texte collectif de André Chamson, Etienne Souriau, Jean Bancal, Armand Lanoux, Herbert le Porrier, Stéphane Rey. Maurice Serullaz, Julien Tardieu, Maurice Tassart, Charles Vildrac. ‎

‎ Klincksieck, Paris 1970 - bon état 1 vol.grand In-4. broché. bon état. sans pagination les amis de l'œuvre du peintre Benn, texte collectif de André Chamson, Etienne Souriau, Jean Bancal, Armand Lanoux, Herbert le Porrier, Stéphane Rey. Maurice Serullaz, Julien Tardieu, Maurice Tassart, Charles Vildrac. sans pagination‎

‎Stuart Davis A Catalogue Raisonn . 3vols.‎

‎, Yale University Press, 2007 Hardcover in decorative slipcase with dust jacket, 1574 pages, throughout colour illustrations, Language English, FINE, 3 vols set. ISBN 9780300109818.‎

‎The highly anticipated, definitive reference on Stuart Davis?s paintings, watercolors, drawings, and published illustrations Stuart Davis (1892?1964) made a mark on the art world early in his career, first with his Ashcan works and then with his highly personal version of Cubism, which firmly established American modernism as a force that could rival its European counterpart. Over the course of six decades, Davis produced artworks that drew inspiration from the European modernists but were deeply rooted in the popular culture of the United States. Jazz music and hipster talk, vaudeville stages, city streetscapes, New England fishing villages, gasoline stations, store fronts, and commercial packaging and advertising images were among the sources that infused his art with energy, bringing crisp edges, radiant color, and syncopated rhythms to a vast body of paintings, watercolors, and drawings. Documenting the life?s work of this prolific and highly influential artist?who affected almost every development in American art from second-generation Ashcan realism around 1912 to color field and geometric painting in the 1960s?is a monumental achievement. In these three volumes, the editors have catalogued 1,749 artworks by the artist?including more than 600 works never previously illustrated?providing extensive documentation and information about each one. A detailed chronology of Davis?s life, as well as an enlightening discussion of the compositional relationship between certain works spanning his oeuvre, rounds out this study. Exquisitely designed and produced, Stuart Davis: A Catalogue Raisonn will be the definitive reference on the artist?s work for many years to come‎

‎Piero Della Francesca - Les oeuvres‎

‎IT, Silvana , 2012 Hardcover, 240 pages, Text en Francais, 290 x 240 x 28 mm, Tres bon condition, jaquette illustre , illustrations / images en couleur / n/b, ISBN 9788836624645.‎

‎Cette monographie est dediee a un des plus grands artistes de la Renaissance italienne, Piero della Francesca (Borgo Sansepolcro, aux alentours 1416/1417-1492). Chaque oeuvre du maitre, du Bapteme du Christ a la Nativite conservees a la National Gallery, est presentee avec une image en pleine page et attentivement etudiee, tant du point de vue historique qu'esthetique, sans negliger les fortunes critiques au cours des siecles. Un interet particulier est reserve a la splendide serie de fresques, avec La legende de la Vraie Croix dans la basilique de San Francesco d'Arezzo, consideree comme son chef d'oeuvre. L'auteur, a qui nous devons les restaurations de la Chapelle, propose dans cette etude les resultats des interventions sur la moitie des surfaces peintes, accompagnes d'images des fresques apres restauration. Le volume represente un instrument complet et maniable pour tous ceux qui veulent se rapprocher de l'oeuvre de Piero della Francesca. ‎

‎Leon Spilliaert of de schoonheid van een wijs hart / ou la beaute de l'intelligence de coeur.‎

‎, Antwerpen pandora, , 1998 Hardback (relie), 305x240mm, 320 pages, 400 col.ill ,Dutch (NL) + French (FR) edition Version ISBN 9053251111.‎

‎Een einzelganger was hij, enerzijds gebed in de symbolistische traditie van de fin-de-siecle, aan de andere kant lonkend naar de avant-garde. Balancerend op de eeuwwisseling nam Leon Spilliaert (1881-1946) nooit een duidelijke plaats in in het esthetische referentiekader van zijn tijd.Met James Ensor deelde hij naast hun beider thuishaven Oostende, een gelijkgestemde drijfveer gebaseerd op spot en ironie, non-conformisme en de drang om een andere blik op de wereld te werpen. Spilliaert creeerde echter een eigen spirituele beeldtaal, hij experimenteerde met pastel en gouache, speelde met uitgezuiverde kleurvlakken en sierlijke lijnen. De zee onder een koele maan, eenzame figuren met een lege blik, stranden ontdaan van elke menselijke aanwezigheid, lege kamers en gestileerde silhouetten in tegenlicht: Spilliaert wist in abstraherende lijnen en kleuren steeds weer een sfeer van mysterie, magie en vervreemding op te wekken. Door de magisch-realistische toon van zijn werk kan Spilliaert beschouwd worden als een overgangsfiguur tussen symbolisme en surrealisme.Anne Adriaens-Pannier, conservator aan de Koninklijke Musea voor Schone Kunsten van Belgie in Brussel, werkt sinds 1995 op vraag van de familie Leon Spilliaert aan de beredeneerde catalogus van zijn oeuvre en brengt in dit prachtig geillustreerde boek hulde aan de kunstenaar. Zij beschrijft uitgebreid het autonome oeuvre en wijst op het illustratief werk als randverschijnsel. Spilliaert wordt geplaatst als schakel tussen grote kunstbewegingen, in het boeiende tijdperk waarin hij leefde en werkte. Een uniek boek over een heel bijzondere kunstenaar.‎

‎ERNEST ALBERT, monografie.‎

‎, Sint - Niklaas, Danthe, 1982, Gebonden, zwart linnen, vergulde titel op de voorplat en de rug, originele geillustreerde omslagwikkel in kleur, 23,5x30,5cm, 271pp, rijkelijk geillustreerd met 160 afbeeldingen in kleur en 3 in z/w. ‎

‎Tekst nederlands/ francais/ english/ deutsch. mooi exemplaar !‎

‎L'ordre caché de l'art‎

‎Traduit de l'anglais Philippe Lacoue-Labarthe, Claire Nancy . Editions Gallimard Tel 1982. 366 pages. Traduit de l'anglais Philippe Lacoue-Labarthe.‎

‎Bon état général. Intérieur frais et agréable, extérieur avec quelques traces d'usage. Mais sinon, bon exemplaire de documentation.‎

‎TÀPIES. Repères Cahiers d'art contemporain n°80.‎

‎Galerie Lelong, Paris. Paris, Galerie Lelong, 1991, broché sous couverture illustrée, 48 pp., (31,5 x 22 cm). 51 reproductions en couleurs dont 3 en double page. Préface de Pere Gimferrer. Traduit par Claude Esteban. Liste des 47 oeuvres exposées. ‎

‎Très bon état général. Intérieur frais et agréable, extérieur propre, bon exemplaire de collection ou documentation. ‎

‎FAUVES UND KUBISTEN,‎

‎Bergamo, Instituto Italiano d'Arti Grafiche, 1960 Gebunden, Leinen, 260 x 295mm., illustriert.‎

‎Matisse - Braque - Vlaminck - Derain - Dufy - Van Dongen... Guter Zustand.‎