London, George Bell and Sons, 1904. 2 volumes in-folio (40 x 30 cm) de XXIX-214-(1) et IX-211-(1) pages + 107 planches hors-texte représentant plusieurs centaines de portraits en miniatures. Cartonnage éditeur pleine toile blanche avec encadrement et décor doré sur les premiers plats et aux dos. Exemplaire à l'état proche du neuf. Pas de jaquette papier. TIRAGE UNIQUE A 520 EXEMPLAIRES SUR SUPERBE PAPIER VÉLIN DE CUVE ÉPAIS. 510 exemplaires furent mis dans le commerce. Superbe ouvrage de référence sur les portraits en miniatures des princes, rois, reines, princesses et autres personnages historiques ou de familles importantes de la noblesse anglaise et européenne entre 1531 et 1860. "The illustrations have been taken from collections in all parts of the world and represent almost every important miniature painter by some characteristic example of his work" (Préface). SUPERBE ET IMPOSANT OUVRAGE PARFAITEMENT CONSERVÉ.
Phone number : 06 79 90 96 36
BELFOND . 1988 . Nombreuses illustrations . 417 pages + 4 pages ( index ) . Avec sa jaquette et son emboîtage
Très bon état
Paris, Editions Art et Industrie Max Fournie 1970 199pp.richement illustré en couleurs, 32cm., reliure toile d'éditeur, jaq.illustrée (qqs.déchirures restaurées), bon état, S79116
, Freren, Luca Verlag, 1990 Hardcover, 436 pages, ENG. edition, 290 x 250 x 35 mm, illustrated dustjacket, beige cloth with brown imprint, illustrated in color / b/w., book is in Fine order. ISBN 9783923641338.
Vincent Willem van Gogh - (30 March 1853 ? 29 July 1890) was a Dutch post-Impressionist painter whose work had far-reaching influence on 20th-century art. His paintings include portraits, self portraits, landscapes, still lifes, olive trees and cypresses, wheat fields and sunflowers. He was largely ignored by critics until after his early death in 1890. The only substantial exhibitions held during his lifetime were showcases in Paris and Brussels. The first published full-length article came in 1890, when Albert Aurier described him as a Symbolist. The widespread and popular realisation of his significance in the history of modern art did not begin until his adoption by the Fauves and German Expressionists in the mid-1910s. Vincent van Gogh was born to upper middle class parents and spent his early adulthood working for a firm of art dealers before travelling to The Hague, London and Paris, after which he taught in England at Isleworth and Ramsgate. Although he drew as a child, he did not paint until his late twenties; most of his best-known works were completed during the last two years of his life. He was deeply religious as a younger man and aspired to be a pastor and from 1879 worked as a missionary in a mining region in Belgium where he sketched people from the local community. His first major work was 1885's The Potato Eaters, from a time when his palette mainly consisted of sombre earth tones and showed no sign of the vivid colouration that distinguished his later paintings. In March 1886, he relocated to Paris and discovered the French Impressionists. Later, he moved to the south of France and was influenced by the region's strong sunlight. His paintings grew brighter in colour, and he developed the unique and highly recognizable style that became fully realized during his stay in Arles in 1888. In just over a decade, he produced more than 2,100 artworks, including around 860 oil paintings and more than 1,300 watercolours, drawings, sketches and prints. After years of anxiety and frequent bouts of mental illness he died aged 37 from a self-inflicted gunshot wound. The extent to which his mental health affected his painting has been widely debated. Despite a widespread tendency to romanticize his ill health, art historians see an artist deeply frustrated by the inactivity and incoherence wrought through illness. His late paintings show an artist at the height of his abilities, completely in control, and according to art critic Robert Hughes, "longing for concision and grace".
, Ministerie van Cultuur / Koninklijk Museum voor Schone Kunsten Antwerpen, 1974, Geillustreerde groene kartonomslag, 205 x 210mm., geen paginanummering, uitgebreide z/w illustratie.
Retrospectieve tentoonstelling 11 mei tot 16 juni 1974. In goede staat.
Antwerpen, Museum van Schone Kunsten Antwerpen, 1981 softcover onder geillustreerde kartonomslag, 240 x 25mm., 107pp. tekst met illustraties en z/w
Uitgegeven naar aanleiding van de gelijknamige tentoonstelling in het Museum 13 juni -13 september 1981.
Bruxelles, Paul Legrain, 1977 Relie, cartonage illustree, 205 x 260 mm., 152 pp., illustrations en b/n et en couleures.
Preface de Octave Landuyt. **exemplaire avec envoi de l'auteur + signe.
Amsterdam, Landshoff, 1974 Paperback , geillustreerde kartonomslag in kleur, 215 x 300mm., pagina's niet genummerd, uitgebreide illustratie in kleur en z/w.
Nederlandse bewerking Remco Campert. In goede staat.
Paris, E.F.F.A., 1988 Bound, brown canvas with gold printing, colored jacket, oblong format: 295 x 215mm., Pages not numbered, a lot of color illustrations. TEXT in English / Japanese.
Exhibition at Gallery One in New York. inscription and signed by the artist. Good condition.
1992 / 191 pages. Relié avec jaquette au format : 24,5 x 33,5 cm. Editions Time Life.
EXCELLENT ETAT !
, Paris, Firmin Didot, 1824., Relie l' epoque, demi veau, 13,5x21,5cm, 244pp, deux volumes dans un tome.
De tous les peintres qui ont grave a l' eau-forte, il n' en est aucun dont les estampes aient ete de tout temps aussi generalement recherchees que celles de Rembrandt. Une description exacte et detaillee de ces pieces devenait par consequent un secours precieux et meme indispensable pour l' amateurs empresses de les recueillir, mais embarrasses dans leur jugement par la variete infinie des epreuves.
Brussel, Koninklijke Vlaamse Academie van België voor Wetenschappen en Kunsten 2000 15pp.+ 16 illustrations out of text, 26cm., very good condition, text in German, B78936
Budapest, Corvina 1970 34pp.+ planches en couleurs hors-texte avec descriptions, signé avec dédicace par l'auteur, reliure cart., jaq.illustrée, 24cm., bon état, S85254
1980, EDITIONS SILOE. In-4 relié avec jaquette, et en boitier. 128 pages avec des nombreuses illustrations.
Boitier avec des petites dechirures et marques de stockage. Jaquette et interieur en bon etat avec quelque rousseurs.
Lille, Geysen, 2000 Gebonden, originele gekartoneerde uitgeversomslag in kleur, 30.5x21.3 cm., 160 pp., prachtig geillustreerd kunstmonografie in kleur en in z/w.
Brussel, VdH Books , 2009 Gebonden, ge llustreerd karton in kleur, 295 x 295mm., 180pp., een en al kleurillustratie. **nieuwstaat! ISBN 9789088810121.
In het kunstenaarsboek ANITA experimenteren Vincent Geyskens en Bernard Dewulf met het boek als artistiek uitdrukkingsmiddel. Het beeldend werk van Vincent Geyskens (collages, tekeningen en ander beeldmateriaal) treedt doorheen het boek in interactie met woord en tekst van Bernard Dewulf.nnIn al hun dwarse, soms rauwe, vaak onaangepaste zinnelijkheid bestrijken Geyskens' collages thema's als: huid, fascisme, besmetting, erotiek, kunstmatig licht, pornografie, androgynie, het lichaam als experiment en mythe, de beeldcultuur als het origineel van een dubbelzinnige fictie.nnHet resultaat is een verzameling 'nieuwe beelden' met een grote, tegendraadse, even kwetsbare als soms agressieve sensualiteit, bestaande uit zeer uiteenlopende materialen - van knipsels tot fineerhout, van verf tot plastic.nnGeyskens heeft grote aandacht voor de materialiteit waarmee wordt gewerkt: scheuren, krassen, spuitsporen, vouwen enz. bouwen de werken op en leggen ze tegelijk bloot. Door die ingrepen wordt de fysieke realiteit van de vaak erotische beelden op een brutale manier verwoord. nBernard Dewulf zoekt in de taal naar een soort pendant van dit proces. In het volle besef dat de materialiteit en de tactiliteit van woorden wezenlijk verschillen van die van het beeld. De schrijver keert in deze teksten zijn gebruikelijke zinnelijkheid binnenstebuiten en laat de toon van de collages zijn taal beschermen In the art book ANITA, Vincent Geyskens and Bernard Dewulf experiment with the book as means of artistic expression. The visual work of Vincent Geyskens (collages, drawings and other visual material) runs through the book in interaction with the words and text of Bernard Dewulf. In their contrary, sometimes raw, often inappropriate sensuality, Geyskens' collages present themes such as: skin, fascism, infection, eroticism, artificial light, pornography, androgyny, the body as experiment and myth, visual culture as the original of a double-entendre fiction. The result is a collection of 'new images' with a large, contrary, simultaneously vulnerable and sometimes aggressive sensuality, consisting of a wide range of materials - from clippings to veneered wood, from paint to plastic. Geyskens is very attentive to the materiality that he is working with: tears, scratches, spray trails, folds, etc., build the work up and, at the same time, expose them. Those intrusions express the physical reality of the often erotic images in a brutal way. Bernard Dewulf's search is for a counterweight in language to this process. He does that in the full knowledge that the materiality and the tactility of words are essentially different from those of the images. In these texts, the writer turns his usual sensuality inside out and allows the tone of the collages to protect his language. Artistic Dutch texts by Bernard Dewulf. New.
, Antwerpen, Pandora, 2000., originele geillustreerde uitgeversomslag z/w, 17,5x24cm, 117pp, geillustreerd z/w, beknopte bibliographie. ISBN 9053251588.
Met medewerking van Daniele Gillemon.
, Antwerpen, Pandora, 2000, Broche, cartonnage blanche, jaquette illustree, photo - frontispice, 120pp., z/w illustratie. ISBN 9053251480.
Bon etat.
Milano, 1981 158pp., with bl/w illustrations and 15 colour plates, 24cm., text in Italian, illustrated softcover, exhibition catalogue (Milano, Palazzo della Permanente, 22 settembre - 18 ottobre 1981), good condition, S97167
Koln, Taschen, 1994 Relie, toile noire sous jaquette illustree, 240 x 325mm., 256pp., illustration abondante couleurs et n/b. ISBN 3822896896.
Le mouvement symboliste a mis en exergue les themes de la sexualite et de la spiritualite morbide. Il etait ainsi le refuge des refractaires a une fin de siecle dominee par le rationalisme de l'ere industrielle.
Paris, Reunion des Musees Nationaux, 1993 Broche, couverture carton illustree, 305 x 230 x 43 mm., 745pp., illustration profonde en couleurs et n/b. ISBN 9782711826100.
Con ue et organis e par Michel Laclotte avec un groupe de sp cialistes, l'exposition se propose d' voquer le si cle le plus glorieux de la peinture v nitienne en mettant l'accent sur l'oeuvre de Giorgione et de Titien, et en montrant l'influence exerc e par ces artistes sur leurs contemporains
, Editions Du Chene, 1998 Relie, toile, sous jacquette d' editeur illustre (photo) en couleur, page de garde illustre (photo)en couleur, 25,5x29cm, 192pp, illustre en couleur et n/b, bibliographie, index. ISBN 9782842771348.
Villages de peintres sommaire: ornans, les racines de gustave courbet; giverny, le jardin de monet et les am ricains; etretat, les vacances de la peinture; pont-aven, autour de gauguin; cagnes, le bonheur de renoir...
Paris, J.F. Guyot, 1980, 23 x 29, 271 pages sous reliure éditeur toilée et jaquette illustrée. Iconographie noir & blanc et couleurs.
Rotterdam, Museum Boymans-van Beuningen 1991 326pp.rijkelijk geïllustreerd in kleur en zw/w, 27cm., gebroch., Catalogus van tentoonstelling (Rotterdam, 15 sept. - 24 nov. 1991), goede staat, S85389
Giovannetti Alessandra Forlani-Tempesti Anna
Reference : 100118955
(1996)
ISBN : 2866452224