‎GUILLAUME VOGELS (1836-1896). Catalogue retrospective.‎

‎Antwerpen, Pandora., 2000 Relie, hardcover with dusjacket, livre abri de tissu, sous jaquette originale de l'editeur en couleurs, 30.5x25 cm., 189 pp, illustrations en couleurs et en n/b, bibliografphie, index. edition Francaise. ISBN 9053252274.‎

‎Catalogue publie a l'occasion de la retrospective, Bruxelles, Musee Charlier, 3 mars - 4 jjuin 2000; Oostende, Museum voor Schone Kunsten, 24 juin - 28 aout, monographie, ‎

‎GUILLAUME VOGELS (1836-1896). NL‎

‎Antwerpen, Pandora., 2000 Hardcover, met uitgeversomslag in kleur, 30,5x25 cm., 189 pp, kleur- en zwart-wit illustraties, bibliografie, index. TEKST IN NEDERLANDS ISBN 9789053251690.‎

‎Catalogus uitgegeven ter gelegenheid van de overzichtstentoonstelling, Brussel, Mus e Charlier, 3 maart - 4 juni 2000; Oostende, Museum voor Schone Kunsten, 24 juni - 28 augustus, monografie, nieuw boek; ‎

‎GRIS. STILL LIFES.‎

‎Paris, Fernand Hazan, 1961 Paperback, original jacket editor in color, 105 x 150 mm., pages not numbered, 15 numbered images in color.‎

‎The Little Library of Art 35. Methuen and Co. In good condition.‎

‎Radiography and Painting‎

‎, Brepols, 2023 Hardback, 2 vols, xviii + 567 pages, Size:240 x 340 mm, Illustrations:76 b/w, 272 col., 5 tables b/w., Language: English. ISBN 9782503554549.‎

‎Radiography is a technique that has been employed in the study of paintings for more than a century. The history of this method of analysis indicates that its development has been modest since the 1960s, as its use has been limited to reductive approaches that take into account no more than the immediately intelligible signs. By systematically considering the physical mechanisms involved in the creation of an image, this volume seeks to demonstrate that we can access new fields of radiological analysis by identifying two categories of 'signs': those that may be obvious but whose meaning is misleading, and those which are not immediately comprehensible. This study has been primarily based on a thorough and essential reviewing of current literature concerning the materials and processes used for the making of paintings. The semiological analysis is based on the understanding of the physical phenomena occurring in the formation of the image, and on correlations between the radiographic images of a painting and the information stemming from its observation, other scientific results, and the restoration reports. Furthermore, a number of experiments were conducted to consolidate certain assumptions regarding image-formation mechanisms. Ultimately, this book hopes to show how data resulting from radiographic analysis can be seen and set in a broader context of information on a specific work or a group of works, in order to enrich our knowledge of art history, history of technology, and conservation as well as restoration. La radiographie est une technique appliqu e aux peintures depuis pr s d'un si cle. L'histoire de cette technique d'analyse montre que son d veloppement s'est trouv limit depuis les ann es 1960 en raison d'une approche uniquement bas e sur la prise en compte de signes imm diatement suggestifs. Or ce mode d'analyse ne permet pas d'expliquer l'ensemble des images observ es sur une radiographie de peinture. En consid rant de mani re syst matique le m canisme de formation de l'image, ce travail souhaite d montrer que l'on peut acc der de nouveaux champs de l'analyse radiologique en identifiant deux autres cat gories de signes: les signes suggestifs mais dont la signification est trompeuse et les signes non imm diatement intelligibles. Cette analyse a t possible gr ce une revue de la litt rature la plus compl te possible sur les mat riaux constitutifs et les proc d s employ s pour la r alisation des peintures. L'analyse s miologique est bas e sur la compr hension des ph nom nes physiques en jeu dans la formation de l'image et sur des corr lations entre les images observ es et les informations provenant de l'observation, d'autres examens r alis s sur l'oeuvre ou encore de rapports de restauration. De plus une exp rimentation a t conduite pour conforter certaines hypoth ses de m canisme de formation de l'image. Enfin, les donn es issues de la radiographie peuvent tre replac es dans un contexte plus large de donn es ou informations connues sur une ?uvre ou groupe d'oeuvres pour enrichir nos connaissances en histoire de l'art, histoire des techniques et conservation-restauration. TABLE OF CONTENTS VOLUME ONE - TEXT Preface Acknowledgements Introduction Chapter I. A history of the radiography of paintings Chapter II. The paint layer Chapter III. The preparatory phases Chapter IV. Supports Chapter V. Damage and Restorations Chapter VI. Contribution of radiography to the history of art, the history of painting practices and conservation Conclusion Annex 1: List of the x-rays done by Alan Borroughs during his stay in Paris in 1926 Bibliography Index VOLUME TWO - ILLUSTRATIONS ‎

‎Hercules to Olympus Part XI, 2: Mythological Subjects Hercules to Olympus / 2 volumes.‎

‎, Brepols - Harvey Miller, 2023 hardcover with dusjacket, 2 vols, 946 pages.Size:175 x 260 mm Illustrations:450 b/w. Language(s):English. ISBN 9781912554867.‎

‎One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time a secular space was created in art for the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. At the same time, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is happy accident of history that these splendid paintings are now widely visible in the great museums of the world.‎

‎Thinking through Rubens Selected Studies by Arnout Balis.‎

‎, Brepols, 2024 Hardcover, Pages: 220 pages,90 x 255mm,Illustrations:18 b/w, 88 col. Language(s):English. ISBN 9781915487285.‎

‎Over the course of his life, Arnout Balis (d. 2021) did a lot of thinking about and around Rubens. A principal beneficiary of this was the Corpus Rubenianum, that multi-volume catalogue of the work of the artist to which he devoted so much of his scholarly endeavour ? as author, and, still more, as the most generous of editors. But he also produced wide-ranging, as well as more closely detailed, studies on the artist that were written for a variety of contexts. Arnout Balis was an artist before he was an art historian, and the question of how Rubens channelled his ideas into visual form constantly attracted and intrigued him. He was fascinated, too, by the practicalities of the artist?s method of production, given the enormous output of Rubens?s studio. Not only did he rigorously assemble and analyse every scrap of information about pupils or associates of the master, but he made himself an expert in the work of each of Rubens?s artistic contemporaries. In all his investigations, whether involving the attribution of a painting, an iconographic puzzle or the solution to a historical problem, he took nothing for granted, treating any received idea or initial intuition with due scepticism until it could be shown to stand the test of the evidence, documentary and visual. The present volume shows the Balis method in action. It includes several studies already acclaimed as exemplary, and others which deserve to be more widely known. Five of them are made available here for the first time in English translation. Preface Arnout Balis: A Personal Memoir by Elizabeth McGrath 1 Hippopotamus Rubenii: A Small Chapter in the History of Zoology (1981) 2 Image and Counterimage: On Dissident Rubens Biographies (1985) 3 Picturing Fables in Seventeenth-Century Flemish Painting (1985) 4 ?Fatto da un mio discepolo?: Rubens?s Studio Practices Reviewed (1994) 5 Working it out: Design Tools and Procedures in Sixteenth- and Seventeenth-Century Flemish Art (2000) 6 Rubens and Inventio: The Contribution of his Theoretical Notebook (2001) 7 Rubens and his Studio: Defining the Problem (2007) 8 A Painting by Willem Panneels, an Intriguing Pupil of Rubens (2020) 9 Many Hands in Rubens?s Workshop: an Exploration (2021) 10 A Sheet from Rubens?s Theoretical Notebook (2021)‎

‎Delights from the senses. Dutch and Flemish still-life paintings from Budapest‎

‎Wausau, Leigh Yawkey Woodson Art Museum 1989 176pp.with ills. in colour and in bl/w, 30cm., softcover, exhibition catalogue, good condition, S87260‎

‎Subjects from History (2 vols.), Corpus Rubenianum Ludwig Burchard vol. vol. 13.1‎

‎Turnhout, Brepols, 1977 Hardback, 690 pages., 228 b/w ill., 180 x 265 mm. set in 2 volumes, fine condition. ISBN 9780905203690.‎

‎Elizabeth McGrath recreates the context in which Rubens, who was familiar enough with classical writings to interpret them with originally and wit, worked and casts new light on rarely discussed and misidentified subjects. For Ruben's age, as for the ancient Romans, history was valued for the lessons it taught. Rubens was deeply interested in history, particularly the works of the ancient writers like Ovid, Plutarch and Juvenal, which were full of exemplary figures. Yet unlike many Renaissance artists who merely sought texts they could illustrate, Rubens was familiar enough with classical writings to interpret them with originally and wit - always with an eye for the visually striking aspect. He was thus uniquely qualified to respond to the requirements of particular commissions with exemplary themes like The Continence of Scipio, The Justice of Cambyses, The Devotion of Artemisia and The Courage of Cloelia. Elizabeth McGrath recreates the context in which Rubens worked and casts new light on rarely discussed and misidentified subjects. Also included is a detailed analysis of the tapestry cartoons on the life of Romulus, now in the National Museum of Wales, relating the series to all relevant studies, paintings and tapestries. Languages: English.‎

‎Subjects from History volume two only, Corpus Rubenianum Ludwig Burchard vol. vol. 13.1‎

‎Turnhout, Brepols, 1977 Hardback,398 pages., 228 b/w ill., 180 x 265 mm.onky volume two., fine condition. ISBN 0905203690.‎

‎Elizabeth McGrath recreates the context in which Rubens, who was familiar enough with classical writings to interpret them with originally and wit, worked and casts new light on rarely discussed and misidentified subjects. For Ruben's age, as for the ancient Romans, history was valued for the lessons it taught. Rubens was deeply interested in history, particularly the works of the ancient writers like Ovid, Plutarch and Juvenal, which were full of exemplary figures. Yet unlike many Renaissance artists who merely sought texts they could illustrate, Rubens was familiar enough with classical writings to interpret them with originally and wit - always with an eye for the visually striking aspect. He was thus uniquely qualified to respond to the requirements of particular commissions with exemplary themes like The Continence of Scipio, The Justice of Cambyses, The Devotion of Artemisia and The Courage of Cloelia. Elizabeth McGrath recreates the context in which Rubens worked and casts new light on rarely discussed and misidentified subjects. Also included is a detailed analysis of the tapestry cartoons on the life of Romulus, now in the National Museum of Wales, relating the series to all relevant studies, paintings and tapestries. Languages: English.‎

‎Dürer et son temps, de la réforme à la guerre de trente ans : Dessins allemands de l'Ecole des Beaux-Arts ‎

‎ENSBA, 2012. In-4°, Relié cartonnage d'édit. illustr, 575 pp. nombreuses reproductions en couleurs dans le texte et à pleine-page, bibliogr., index, table‎

‎Livre comme neuf; ‎

‎UNTER KLASSISCHEM BODEN. BILDER VON ITALIENS GROTTEN IM SPATEN 18. JAHRHUNDERT,‎

‎Berlin, Reimer Verlag , 2006 Gebunden, 160 x 240mm., 350 S. m. 26 Farb- u. 90 s-w-Abb., 17 x 24 cm. ISBN 9783496013488.‎

‎Der Abstieg in das Terrain unter klassischem Boden fuhrte die Reisenden des 18. Jahrhunderts zu den Ursprungen ihrer Kultur, ihrer Kunst und ihres Glaubens. Sie fanden ein zweites Rom unter der Erde, bei Neapel das Tor zum Hades, auf Sizilien Hohlenmenschen. Fur die Zeit zwischen Aufklarung und Romantik kann Emslander einen Wandel des Italienbildes ausmachen: Empirische Beobachtung, neue wissenschaftliche und asthetische Perspektiven sprengen den klassischen Besichtigungskanon. Grosse voyages pittoresques zeigen, wie die Malerei die Literatur als Wahrnehmungsparadigma auf Reisen teilweise abloste. Wahrend die aufwandigen Publikationen Italien als pittoreskes Spektakel vorfuhren, entwickeln die Maler ein Spektrum von Inszenierungen, um Grotten mit Bedeutung und Stimmungen aufzuladen. So konnte ein- und dieselbe Hohle als idyllische Hirtengrotte Naturgeborgenheit oder als finsteres Raubernest die Gefahren des Reisens suggerieren, als Lustort des italienischen Volkes oder als heroische Kulisse der Mythologie vorgestellt werden. In der Ambivalenz des Hohlenmotivs spiegelt sich die Vervielfachung des Blicks auf ein zwischen Paradies und Holle changierendes Land, bevor dieses von der fruhen Tourismusindustrie neu definiert wird. Neue.‎

‎Weltchronik. Der Stricker: Karl der Grosse.‎

‎Luzern, Faksimile-Verlag, 1982. 4°. 214 faksimil. Bl.; 76 faksimil Bl. Mit farb. Illustr. auf Goldgrund nach Miniaturen u. farb. Initialen. Dem Orig.-Einband entsprechender Lederbd. über Holzdeckeln mit 10 Metallbuckel-Beschlägen u. 2 Metall-Lederschliessen.‎

‎Nr. 302 v. 980 (GA 1'060) Ex. (Vergriffen. Neupreis 10'800.--). Faksimileband nach der Handschrift 302 (um 1300) der Kantonsbibliothek (Vadiana) in St. Gallen. "In seinen letzten Lebensjahren schrieb Rudolf von Ems auf Veranlassung des Stauferkönigs Konrad IV. eine Weltchronik in über 33000 paarweise gereimten Versen. Sie behandelt in mittelhochdeutscher Sprache die Geschichte von der Erschaffung der Welt bis zum Tode Salomos. (...) Das im Spätmittelalter vielgelesene Epos des "Strickers" geht in seinem Ursprung auf das altfranzösische Rolandslied zurück, das vom Regensburger "Pfaffen Konrad" um 1170 erstmals ins Deutsche übertragen worden war. Der "Stricker" erweiterte das alte Heldenlied aus dem Umkreis Karls zur in Versen erzählten Kunde ritterlicher Lebensformen. Im Mittelpunkt steht die Legenede um Karl und seinen treuesten Kampfgefährten Roland (...)" (Faksimile Verlag Luzern). Ohne den Kommentarband. - Tadellos erhalten.‎

‎Au seuil du salut : les décors peints de l'avant-nef de Farfa en Sabine [2 volumes]‎

‎Lausanne/ Poitiers, 2004 Complete en 2 volumes, I: texte: 315pp., II: CD-ROM, 30cm., Thèse de doctorat en histoire de l'art à l'Université de Lausanne et de Poitiers, br., cachet au verso de la p.d.t., texte frais, bon état, S112285‎

‎L'Ecole de peinture de Leyde et le Romantisme hollandais au dbut de la Renaissance, Cornelis Engebrechtsz.‎

‎Lille, Emile, Raoust, 1929. [iv], xlii, 502 pp. 8vo (14 x 23 cm.). Original orange printed wrappers, entirely unopened and uncut. With 24 black and white plates.‎

‎ The standard reasoned catalogue of the work of Cornelis Engebrechtsz (1475-1527), who lived in Leiden and established a large and productive workshop there that trained many important painters. He primarily painted biblical scenes hat were distinctive through their use of warm colours and layered glazes. This work contains ample bibliographical references, learned notes, indexes and a "life of Engebrechtsz" after Van Mander (1604). -(Edges partly slightly foxed).‎

‎Kunstschilder Leon Engelen - Ogen die kijken‎

‎Hoeselt, Engelen Fine Arts 1997 200pp., rijkelijk geïllustreerd in kleur, 33cm., geïllustreerde omslag, goede staat, gewicht: 1.2kg., L114092‎

‎Leon Engelen en zijn streken [2 volumes]‎

‎Hoeselt, Engelen Fine Arts 2006-2007 Volledig in 2 delen : 180 + 180pp., rijkelijk geïllustreerd in kleur, 21cm., geïll. omslagen, goede staat, L114088‎

‎Leon Engelen - Verloren schoon‎

‎Hoeselt, Engelen Fine Arts 2012 996pp., met 800 in kleur afgebeelde schilderijen, gesigneerd met opdracht door de auteur, 30cm., geïll. uitgeversband, goede staat, gewicht: 5.3 kg., L114087‎

‎James Ensor retrosepctieve 16 juni-15 augustus 1951 (Antwerpen, Koninklijk Museum voor Schone Kunsten)‎

‎, DNB 1951 56pp.tekst + 94pp.ills. (zw/w), geïll.omslag, enkele roestplekjes, goede staat‎

‎James (art) Ensor‎

‎Paris, Editions de la Réunion des Musées Nationaux / Musée d'Orsay, 2009, 22 x 27, 272 pages cousues sous couverture souple illustrée. Iconographie noir & blanc et couleurs. Catalogue publié à l'occasion de l'exposition présentée au Museum of Modern Art du 28 juin au 21 septembre 2009 et au Musée d'Orsay du 20 octobre 2009 au 4 février 2010.‎

‎espace rituel et le sacre dans le christianisme La liturgie de l'autel portatif dans l'Antiquite et au Moyen Age,‎

‎Turnhout, Brepols, 2008 Paperback, VIII+205 pages ., 10 b/w ill., 155 x 235 mm. ISBN 9782503528342.‎

‎Aujourd'hui conserves dans des musees ou ils ont acquis le statut d'?uvre d'art, les autels portatifs chretiens ont joue un role majeur dans la definition de l'espace sacre dans l'Antiquite et au Moyen Age. Les autels portatifs constituent un objet liturgique indispensable au dispositif liturgique necessaire au deroulement de rites tels que la celebration de l'eucharistie dans le cadre de pelerinages, sur le champ de bataille en temps de guerre ou bien encore necessites par des missions d'evangelisation. A cote de ces fonctions liturgiques, les autels portatifs ont permis tout au long de l'Antiquite et du Moyen Age une reflexion theologique approfondie sur l'espace sacre chretien et la notion de ? lieu rituel ? . Plutot qu'un ouvrage sur les objets eux-memes, ce livre propose une vaste exploration de l'espace sacre chretien a partir du discours a la fois theologique, liturgique, exegetique et iconographique sur les autels portatifs. Languages : French. ‎

‎Joan Miro: L'homme et son oeuvre‎

‎Taschen 1998. Grand In-4°, cartonné par l'éditeur, sous jaquette illustrée. 240pp. Largement illustré avec des dessins et reproductions en N&B et en couleur.‎

‎Très bon état. Quasi neuf.‎

‎SIGNAC ET LA LIBERATION DE LA COULEUR : De Matisse Mondrian‎

‎, Paris, Reunion des Musees Nationaux,, 1997 Broche, couverture d' editeur illustre en couleur, 21x26cm, 397pp, illustre en couleur et n/b. ISBN 9782711835447.‎

‎Paul Signac2, n le 11 novembre 1863 Paris, o il meurt le 15 ao t 1935, est un peintre paysagiste fran ais, proche du mouvement libertaire3, qui donna naissance au pointillisme, avec le peintre Seurat. Il a aussi mis au point la technique du divisionnisme. Cofondateur avec Seurat de la Soci t des artistes ind pendants dont il fut pr sident, il est ami avec Victor Dupont, peintre fauve et vice-pr sident du Salon.‎

‎Jan Vanriet. Closed Doors,‎

‎Brussels, Roberto Polo Gallery , 2012 Hardback, 240x240mm, 104p, 85 colour illustrations, English edition. . ISBN 9789057791468.‎

‎Closed Doors is an important series of recent paintings by Jan Vanriet (1848), who represented Belgium in the 1979 Bienal de Sao Paolo, 1984 Biennale di Venezia and 1990 International Art Festival of the National Museum of Contemporary Art in Seoul. The Jury of the latter awarded its Special Prize to Jan Vanriet, along with John Chamberlain and Mimmo Rotella. In 2010, the international press acclaimed Jan Vanriet's retrospective exhibition Closing Time at the Royal Museum of Fine Arts of Belgium in Antwerp, which was visited by over 88 000 people. Through a restrained 'narrative' painting, Jan Vanriet explores the essential and universal by reducing forms to signs and symbols, using meaningful colours, carefully constructed lyrical surfaces and scumbling paint, almost as if he were inventing a mysterious calligraphy with his fragile brushstrokes. His style, or as the French art historian and theorist Michel Laclotte wrote, maniera, is above all a path which he has taken to express the themes that have obsessed him since the beginning: man and nature oppressed by a ceaselessly unfolding history. Expo: 22/11/2012 - 24/02/2013. ‎

‎Hans Erni - Ein Weg zum Nächsten.‎

‎5 Bde. Luzern, Kunstkreis, 1976. Gr.-8°. Zahlr. z.T. farb. Abb. v. H.E.. Orig.-Brosch. in Schuber.‎

‎Vincent van Gogh.‎

‎, Berlin, Henschel Verlag, s.d., Gebunden, Original-Leinen, Original-Schutzumschlag illustriert koloriert, 27,5x24,5cm, 304pp, illustriert koloriert und s/w. ISBN 3362003834.‎

‎Lebensbilder, Libenszeichen.‎