‎Iphigénie. Tragédie en 5 actes.‎

‎Couverture souple. Broché. 184 pages.‎

‎Livre. Editions du Mercure de France, 1921.‎

‎Petits Contes à ma soeur. Soixante-deux illustrations de Dunki gravées par Clément Bellanger. ‎

‎Paris, Edouard Pelletan, 1896 ; in-4, en feuillets sous chemise-étui miel, pièce de titre rouge au dos de la chemise, étui muet ; (4) ff. (2 bl., faux-titre, titre), 195 pp., (4) ff. (2 ff. de table, justification, bl.) ; 62 bois gravés en noir + suites ; couverture blanche à rabats illustrée en couleurs. ‎

‎Tirage total à 350 exemplaires, celui-ci un des 50 exemplaires sur Chine fort avec un double tirage sur Japon et sur Chine de toutes les gravures.Quelques rares petites rousseurs éparses, mais bel exemplaire, non coupé. ‎

‎Eroticism in the Middle Ages and the Renaissance Magic, Marriage, and Midwifery‎

‎, Brepols - Harvey Miller, 2016 Hardcover with dusjacket, XV+171 p., 17 b/w ill., 152 x 229 mm, Languages: English. ISBN 9782503567884.‎

‎The essays in this volume explore varied manifestations of medieval and early modern sexuality. Magic rings; seductive she-devils; satyrs bound and whipped on stage; a woman sexually coerced in the confessional; a boy caught masturbating over a midwifery manual; a marriage of true minds between two men; a prince led to repentance at the sight of a naked girl prepared to give her life for his. These varied manifestations of medieval and early modern sexuality ? each at the center of one of the essays in this volume ? suggest the ubiquity and diversity of eroticism in the period. The erotic is the stuff of legend, but also of daily life. It is inextricable from relations of power and subordination and is plays a fundamental role in the heirarchical social structures of the period. The erotic is also very much a part of the spiritual realm, often in morally ambiguous ways. The seven essays collected in this volume explore the role the erotic played in early modern notions of happiness or fulfillment, in clerical life, in Jewish legend, heretical magic and Christian marriage, in poetry, on the public stage, and in medical manuals. Table of Contents Introduction: Magic, Marriage, Midwifery and More ? IAN FREDERICK MOULTON The Erotic and the Quest for Happiness in the Middle Ages: What Everybody Aspires To and Hardly Anyone Truly Achieves; Medieval Eroticism and Mysticism ? ALBRECHT CLASSEN The Erotic as Lewdness in Spanish and Mexican Religious Culture During the Sixteenth and Seventeenth Centuries ? ASUNCION LAVRIN Disarticulating Lilith: Notions of God?s Evil in Jewish Folklore ? SHARONAH FREDRICK Sex and the Satyr in the Pastoral Tradition: Isabella Andreini?s La Mirtilla as Pro-Feminist Erotica ? ROSALIND KERR Erotic Magic: Rings, Engraved Precious Gems and Masculine Anxiety? LILIANA LEOPARDI Figuring Marital Queerness in Shakespeare?s Sonnets ? DAVID L. ORVIS Sexual Education and Erotica in the Popular Midwifery Manuals of Thomas Raynalde and Nicholas Culpeper ? CHANTELLE THAUVETTE ‎

‎Satires.‎

‎Lyon, Imprimerie Cl. Rey, 1847 ; in-8 ; bradel de papier marbré, pièce de titre en long (reliure fin XIXe) ; 44 pp.‎

‎Rare. A noter, la satire intitulée : “La gastronomie”, dans laquelle l'auteur évoque les poulardes de Bresse.Bel exemplaire. ‎

‎Early Netherlandish Painting from Rogier van der Weyden to Gerard David ‎

‎, Brepols, 2010 Paperback, 264 p., 221 ills., 33 in colour, 210 x 280 mm, Languages: English . ISBN 9781905375707.‎

‎ Otto Pacht examines the great Netherlandish painters of the 15th and early 16th century by putting emphasis on formal analysis and on direct contact with the works of art themselves, and by discussing every facet of the works including style, mood, iconography, symbolism and construction of space. Otto Pacht's studies of the Early Netherlandish painters are the fruit of a lifetime's research. Following his book on the brothers Van Eyck and their circle, this volume deals with the next generation of artists, the great figures of the 15th and early 16th century: Rogier van der Weyden, Petrus Christus, Aelbert van Ouwater, Dieric Bouts, Justus van Gent, Hugo van der Goes, Geertgen tot Sint Jans, Hans Memling and Gerard David. In the tradition of the Vienna School, Pacht's approach puts emphasis on formal analysis and on direct contact with the works of art themselves. Taking certain key works by each artist as examples, he discusses every facet of the work including style, mood, iconography, symbolism and construction of space. The chapters are linked by the theme of imitation and continuation: the author compares the same subject as treated by various artists and shows how artists adopted developed ideas and motifs first employed by their predecessors. Although his touchstone was the evidence of his eyes, Pacht was always responsive to the theories of other scholars, and this volume is a gateway to an influential period in the history of art. The proximity of the illustrations to the text enhances his account of the great figures of the period, and there is a folding plate, in colour, of Rogier van de Weyden's Last Judgement alterpiece for the chapel of the hospital, the Hotel-Dieu, in Beaume. ‎

‎Les Ripoux des Lumières: Corruption policière et Révolution‎

‎Seuil 2011 588 pages 15 4x4x23 8cm. 2011. Broché. 588 pages.‎

‎dos légèrement frotté intérieur frais‎

‎Nederlandse tekeningen uit de negentiende eeuw / nineteenth-century Dutch drawings Deel 1 : 1800 - 1850.‎

‎, Museum Boymans-Van Beuningen. Prentenkabinet, softcover, 226 pages, Deel 1 : 1800 - 1850. ISBN 9789069181424.‎

‎Museum Boymans-Van Beuningen. Prentenkabinet volume 1.‎

‎Copies after the Antique Corpus Rubenianum Ludwig Burchard (set 3 volumes). Copies after the Antique‎

‎, Brepols - Harvey Miller, 1994-1997 3 volumes complet; 878 pages , incl. 550 ills., 180 x 265 mm, Languages: English, fine. ISBN 9780905203621.‎

‎This publication examines Rubens drawings of classical statues and reliefs, showing the early seventeenth-century condition of a sculpture; sometimes these are the only record of a work of art now lost. Rubens was fascinated by the classical world and the exploits of the ancients celebrated on surviving sculptures, sarcophagus reliefs, engraved gems and coins. His drawings of classical statues and reliefs are still of great value for archaeologists, because they show the early seventeenth-century condition of a sculpture; sometimes these are the only record of a work of art now lost. Ruben's drawings after the Antique are evidence of his determination to master models before proceeding to draw figures from life, and all he learnt from his classical models informs the gestures, costume and decoration in his entire oeuvre. Review 'Marjon van der Meulen's monumental three-volumes study of Ruben's drawings after the antique is published and illustrated according to the lavish standards of the series.' Burlington Magazine 'The real contributio of the volumes is the encyclopedic gathering of all the evidence. It is the assembly of images and sources that renders these three volumes the key reference for a topic that was a fundamental impor tance for the painter.' The Art Newspaper‎

‎Otto Pacht. Venetian Painting in the Fifteenth Century. Jacopo, Gentile and Giovanni Bellini and Andrea Mantegna‎

‎, Brepols Publishers, 2004 paperback, 260 p., 219 b/w ill. 41 colour ill., 210 x 280 mm English. ISBN 9781872501239.‎

‎Otto Pacht, one of the most significant art-historians of the ?Vienna School?, and well known for his analyses of Early Netherlandish art, turns his attention in this publication to the humanist circle of Early Renaissance painters in Venice, dominated by Jacopo Bellini, his sons Gentile and Giovanni, and also his son-in-law Andrea Mantegna. It was a period of newly awakened interest in the Antique, of studies made directly from nature, and of trial and error in the technique of perspective. And in addition, a new awareness of the role of light and colour in the devotional and often monumental images of the Madonna, of altarpieces and of allegories contributed to the founding of what we now recognise as the hall-mark of Venetian painting, that culminated with Titian. Of the Bellini family, it has been Giovanni who was generally regarded as the major figure of the dynasty. Pacht, however, devotes particular attention to Jacopo?s work, interpreting it as the basis for his sons? later development. He analyses Jacopo?s London and Paris Sketchbook drawings, demonstrating where Late Gothic elements can be seen to be overtaken by the need to give perspective depth to the image, and how subsequent painting took account of these changes. This is also the essence of Pacht?s examination of Mantegna?s work, where the construction of space and depth is the key to our understanding of Mantegna?s creative process. Turning to the next generation of the Bellini family, Pachts guides our eyes to appreciate the refinement and perception of Gentile?s portraits, and finally takes us step by step through the works of Giovanni, where fantasy combines with the play of colour and light in creating compositions, devotional images, and landscape settings of perfect harmony and beauty. !Winner of the Apollo Magazine Book of the Year 2003 Award! "Pacht's lessons are as timely now as thitrty-five years ago." (P. Hills in The Burlington Magazine, cxlvii, January 2005, p. 47-48)‎

‎17TH CENTURY DUTCH AND FLEMISH PAINTERS.‎

‎, Assen, Van Gorcum, 1976., Bound, brown cloth, gilt title on spine, with illustrated dust - jacket in color, ob long, 27,5x21cm, 297pp, illustrated in color and b/w. ISBN 00708477.‎

‎A collectors' Guide compiled by Alan Jacobs.‎

‎Bernard Picart Dessinateur de Paris Amsterdam.‎

‎, Snoeck Publishers , 2019 PB, 280 x 220 mm, 176 p, 150 illustrations, Texte en Francais. ISBN 9789461615459.‎

‎Le mus e national de Port-Royal des Champs poss de au total vingt-deux dessins de Bernard Picart (1673-1733). L'artiste a effet repr sent la vie du Diacre Paris, figure essentielle du jans nisme parisien au XVIIIe si cle, dont l'ensemble des dessins pr paratoires la sanguine ont pu tre acquis par Port-Royal. En 2018 une All gorie de la Foi terrassant l'Ignorance puis quatre dessins acquis en deux temps qui preparent l'ouvrage Histoire du Vieux et Nouveau Testament (dit Bible de Mortier) ont rejoint les collections du mus e. Les recherches men es l'occasion de ces deux achats ont r v l qu'un pan complet de la carri re de Bernard Picart n' tait encore que tr s peu tudi e. Fran ais exil au Pays-Bas, c'est surtout pour son commerce de gravure et son rapport la religion qu'il est tudi . Bien que sa veuve elle-m me d crive le go t de Picart pour le dessin et la difficult avec laquelle il du s'appliquer la gravure, tr s peu de publications s'int ressent au dessinateur passionn trop souvent dissimul derri re ses estampes. A partir de ses collections, le mus e national de Port-Royal des Champs souhaite pouvoir pr senter une exposition d di e la passion du dessin chez Bernard Picart. Un partenariat essentiel s'est alors impos par l'ampleur de ses collections : le Rijks museum qui dispose du fonds d'atelier du peintre. A l'aide de ces deux collections, g n reusement rejoints par des collections priv es fran aises, il devient alors possible d'explorer le dessin de Bernard Picart. Pour la gravure les esquisses la sanguine pr c dent des feuilles plus d taill es la plume. Mais au-del de ce besoin professionnel, Picart explore de multiples aspects du dessin. Il le pratique d'apr s les ma tres ou d'apr s mod le. Il n'h site pas quitter l'atelier pour dessiner d'apr s la Nature, le th tre et la rue. C'est aussi dans son environnement familial qu'il puise des sujets parfois difficiles, tels son fils mort pr matur ment trois jours. Multiple par ses techniques et ses sources d'inspirations, le dessin chez Bernard Picart se r v le derri re les gravures comme une richesse encore trop m connue. L'exposition Bernard Picart (1673-2733), dessinateur de Paris Amsterdam est con ue pour devenir le deuxi me tome d'une saison intitul e Le Dessin Port-Royal n e en 2018 avec Traits divins. Tous les ans le mus e national de Port-Royal des Champs entend proposer une exposition d di e au dessin ouvrant en m me temps que le Salon du dessin de Paris. L'exposition est toujours accompagn e d'un catalogue r dig par plusieurs sp cialistes‎

‎FLANDERS IN THE FIFTEENTH CENTURY : ART AND CIVILZATION,‎

‎Detroit/ Brussels, Institute of Arts/ Centre National de Recherches Primitifs Flamands, 1960 Pictorial softcover, 170 x 250mm., 468pp., profoundly illustrated in b/w.‎

‎Catalogue of the Exhibition Masterpieces of Flemish Art: Van Eyck to Bosch. The Detroit Institute of Arts October - December 1960. In good condition.‎

‎HEREND. TRADITIONAL CRAFTMANSHIP IN THE 20th CENTURY,‎

‎Veszprem, Szelenyi House, 1997 Bound, red cardboard cover, illustrated dustjacket in colour, 215 x 310mm., 80pp., colour illustration throughout. ISBN 9638155736.‎

‎This book is an overview of Herend porcelain in the 20th century. In good condition.‎

‎INFLUENCA ORIENTAL NA CERAMICA PORTUGUESA DO SECULO XVII. ORIENTAL INFLUENCE ON 17th CENTURY PORTUGUESE CERAMICS,‎

‎Lisboa, Museo Nacional du Azulejo, 1994 Illustrated cardboard cover in colour, 245 x 280mm., 162pp.,very profound colour illustration. ISBN 8843548840.‎

‎***met bijlage in het Nederlands (tentoonstelling gids)‎

‎JAN DE SMEDT. NA EEN KWARTEEUW.‎

‎, Mechelen, Vrienden van Jan de Smedt, 1979., Gebrocheerd, originele geillustreerde uitgeversomslag z/w, 17x24cm, 143pp, geilustreerd z/w.‎

‎Jan de Smedt apres un quart de siecle/ Jan de Smedt after a Quarter of a Century. Tekst Nederlands/ Francais/ English.‎

‎MUSEUM IN THE 21ST CENTURY. CONCEPTS PROJECTS BUILDINGS,‎

‎Munich, Prestel, 2008 Illustrated cardboard cover in colour, 230 x 300mm., 223pp., full color illustration. ISBN 9783791338392.‎

‎In this book, the world's most exciting new museums are shown to be as inspiring as the works they display. The twenty-first century has seen a boom in museum construction, both in new buildings and renovations or additions to existing ones. Nearly thirty museums are given close inspection in this generously illustrated volume. Each entry includes a discussion of the building's cultural and geographic environment, complemented by color photographs, sketches, and architectural plans. The book encompasses four continents and highlights, among others, the designs of Frank Gehry, Renzo Piano, Steven Holl, Zaha Hadid, Mario Botta, David Chipperfield, Tadao Ando, Yoshio Taniguchi, and Daniel Libeskind. In addition, the authors provide thoughtful commentary on the relationship between architecture and the fine arts and an assessment of museum functionality in modern times. ‎

‎PORTRET VAN JAN VEKEMANS. CORNELIS DE VOS,‎

‎Brussel, Koning Boudewijnstichting, 2006 softcovergeillustreerd in kleur, 175 x 240mm., 44pp., uitgebreide illustratie in kleur en z/w. ISBN 9789051305388.‎

‎Een publicatie over het portret van Jan Vekemans, van de hand van de bekende portretschilder Cornelis De Vos. Het schilderij maakt deel uit van een reeks familieportretten van de 17de eeuwse koopman Joris Vekemans. In permanente bruikleen gegeven aan het Antwerpse Museum Mayer van den Bergh. ‎

‎Genre Scenes Corpus Rubenianum Ludwig Burchard part XVII‎

‎, Brepols - Harvey Miller, 2019 Hardcover with dusjacket,464 p., 130 b/w ill. + 70 colour ill., 180 x 265 mm,. ISBN 9780905203737.‎

‎This volume catalogues the paintings and drawings that Ludwig Burchard (1886?1960) gathered under the heading ?Genre Scenes? when planning his catalogue raisonn of Rubens?s oeuvre. Not that Rubens has ever been thought of as a genre painter in the conventional sense of the term. Besides, even the individual works assembled here do not accord with the customary definitions of genre painting, a category of subject-matter that was introduced relatively late in the history of art. The famous Garden of Love in the Prado, for example, with its fluttering amoretti, is more accurately described as an allegory. Even the picture in the Louvre frequently referred to as the Kermesse clearly does not reproduce an actual kermis or any other such event as witnessed by the artist, but is a fictional construct in which precisely observed details are designed to convey a message that is more symbolic than realistic in content. Yet no history of genre painting can fail to include Rubens. His pictures occupy a firm place in the relevant section of any imaginary museum of European art, whatever strictures the guides to that museum may apply. The works discussed in this volume belong to the most famous creations of the painter. They are also among the most personal of his inventions. Most of them were never sold by Rubens, but remained in his possession, a circumstance that suggests they should be viewed as a particular artistic legacy. That is not to say that they did not offer contemporaries a wide range of possible interpretations unconnected with the artist?s own life. For a historically appropriate interpretation it is essential to examine closely not only the artistic process of creation, but also the former contexts of the pictures. Establishing the most complete provenance possible not only for the primary version of a composition but for all the various copies plays an important part in this process.‎

‎ELEMENS DE PATHOLOGIE CHIRURGICALE.‎

‎ Germer Bailliere, Paris, 1844-1859. In-8, 5 volumi, mz. tela coeva, pp. XVI, 824; 806; 516; 536; 1012. Prima edizione, contenente le scoperte chirurgiche dell'autore, compreso il tumore di Nlaton. Tra gli strumenti chirurgici da lui inventati, c'e' un catetere di gomma che porta il suo nome. Il libro tratta anche di chirurgia plastica. Con fioriture, peraltro ben conservato (foxed, otherwise good condition). ‎

‎Album Fin de Siècle. Quatrième série Les mois fin de siècle ‎

‎in plano 49x32cm broché,couverture illustrée en couleurs, avec titre,de Maurice NEUMONT, 12 grandes compositions sur double page montées sur onglets(49x64cm)En vente au brureau du Journal Fin de Siècle Sans date Très bon état.Proche de l’état de neuf.Peu courant dans cet état de conservation ‎

16 Images

‎Cornelis van Poelenburch (1594/5-1667): The paintings ‎

‎NL-, Bejamins, 2016 Hardcover with dusjacket, xi, 408 pp., 176 bl/wh ills. + 195 full color . FINE ISBN 9789027249678.‎

‎Cornelis van Poelenburch was one of the very few painters of the Dutch Golden Age to acquire international renown during his lifetime. Only three Dutch artists were honoured with mentions by all of the seventeenth-century biographers who included Netherlandish artists, the others being Rembrandt and Gerrit Dou. His paintings were prized by well-to-do and often aristocratic collectors who were willing to pay high prices for them. Grand-Duke Cosimo II de? Medici, for example, kept four of Poelenburch?s paintings in his private quarters and Stadholder Frederick Henry and his consort owned more works by him than any other Dutch artist. He was a pupil of the influential Utrecht painter Abraham Bloemaert, worked for eight years in Italy, and except for a period of four years when he lived in London and received an annual stipend from King Charles I, spent the rest of his life in Utrecht. Poelenburch?s idyllic, mostly small-sized landscapes on copper or panel and done in a highly refined style and technique usually feature a ?history?: a biblical, mythological or pastoral subject. Nowadays he is known primarily as the leading artist of the first generation of ?Italianate? landscape painters, but in his own time he was lauded mainly for his lively figures with their crisp contours and animated gestures. From the mid-nineteenth century, Poelenburch?s paintings came to be dismissed as ?un-Dutch? and were subsequently neglected and forgotten, together with those of many other seventeenth-century painters who did not fit into the mould of ?Dutch realism?. This first comprehensive monograph on the artist includes a catalogue of his works, along with a discussion of all of his approximately 290 known paintings (all reproduced), and chapters covering his biography, the reception of his art in his own time and in later centuries, and his remarkable position on the seventeenth century art market. [OCULI: Studies in the Arts of the Low Countries, 15] ‎

‎Study Heads. Corpus Rubenianum Ludwig Burchard PART XX.2 in 2 volumes / Study Heads Part XX, 2‎

‎, Brepols - Harvey Miller, 2020 Hardcover with dusjacket, 2 volumes ., 680 pages ., 340 b/w ill. + 150 colour ill., 180 x 265 mm,. ISBN 9781912554652.‎

‎This book is devoted to a remarkable aspect of Rubens painted production. It investigates and catalogues not only works that Ludwig Burchard (1886?1960) gathered into the category of Study Heads, but also head studies by artists closely connected to Rubens's workshop which were demonstrably used in his paintings. The existence of a stock of study heads or tronies allowed Rubens and his collaborators to exploit the same figures in many different contexts and create satisfying variety among the numerous characters involved in mythological, biblical or historical scenes. In Rubens?s work, study heads constitute an exceptional type of painting in that they were created not as autonomous works of art, but as a means to an end, an indispensable part of his artistic practice. Yet, even in this marginal category of work, Rubens achieves maximum artistic expression with an economy of means, as for example in the iconic Four Studies of the Head of an African Man in the Brussels Museum. The originals of the study heads remained together until the sale of Rubens?s possessions at his death in 1640. Over the centuries, many of Rubens?s tronies have undergone transformation. Panels featuring several heads were cut up quite early on to be sold as separate pictures on the art market, and some tronies were converted by later artists into specific characters or even genre scenes by adding extra planks of wood and giving the heads distinctive clothes and attributes. This book aims to reconstruct as far as possible the original appearance of Rubens?s tronies, aided by the evidence of copiesand technical research on the works themselves.‎

‎SENSATIE EN SENSUALITEIT. RUBENS EN ZIJN ERFENIS.‎

‎BE, mercaterfonds - fondsmercator, 2014 Gebonden, Hardback, 280x240mm, 354p, 280 bw and col. illustrations - tekst in het Nederlands, nieuw exemplaar. ISBN 9789462300507.‎

‎Rubens (1577-1640) was de Quentin Tarantino van zijn tijd en bracht Vlaanderen naar de wereldtop van de schilderkunst. De meester-schilder was een eigenzinnige vakman en zette scenes neer vol geweld en wellust, maar ook met compassie en elegantie. Die thema?s inspireerden vele eeuwen de kunstenaars na hem, overal ter wereld. In deze unieke tentoonstelling van BOZAR samen met het Koninklijk Museum voor Schone Kunsten in Antwerpen en de Royal Academy of Arts in Londen maak je opnieuw kennis met het duurzame oeuvre van dit ontembare genie en dat van zijn erfgenamen. Je ontdekt ook doeken van Van Dyck, Watteau, Delacroix, Manet tot Kokoschka, naast etsen van Rembrandt en Picasso. De schilder was zo veelzijdig dat hij kustenaars uit alle naties aansprak. Deze belangstelling is vaak selectief. Spanjaarden verkozen zijn religieuze stukken. De Engelsen spiegelden zich aan zijn portretten en landschappen. Franse schilders voelden zich vooral aangetrokken door de erotiek en poezie in zijn werk. Duitse en Oostenrijkse kunstenaars bewonderden zijn levenskracht. Heel wat getalenteerde kunstenaars lieten zich verleiden door Rubens' gebruik van compositie, kleur of techniek en kwamen op die rijke voedingsbodem tot rijpheid en bloei. ‎

‎Sensation et sensualite Rubens et son heritage.‎

‎, mercaterfonds - fondsmercator, 2014 Hardback, 280x240mm, 354p, 280 bw and col. illustrations- Fine copy. ISBN 9789462300514.‎

‎Peintre de cour a la reputation internationale, Peter Paul Rubens (1577-1640) synthetise les nuances et les paradoxes de son temps. Ses creations sont encore de nos jours une source d'inspiration pour toute une serie d'artistes. BOZAR et le Musee Royal des Beaux-Arts d'Anvers vous replonge dans son oeuvre, de maniere thematique : la violence, le pouvoir, la luxure, la compassion, l'elegance et la paix sont abordes par le biais d'ouvres du maitre et de ses heritiers. L'exposition presente entre autres des toiles de Van Dyck, Gainsborough et Delacroix ainsi que des gravures de Rembrandt et Picasso souvent surnomme ? le Rubens du XXe siecle ? ‎

‎Reynaert de Vos. Een kleine geschiedenis van het middeleeuwse dierenepos. Phoebus Focus IV ‎

‎Antwerp, Phoebus Focus IV, softcover, 21 x 14,8 cm, 64 pagina's, Nederlandstalige editie . ISBN 9789082829020.‎

‎Phoebus Focus IV De dierenfabel Van den vos Reynaerde werd geschreven in de dertiende eeuw. De vos is er een antiheld: een lepe schurk ? een moordenaar zelfs ? die genadeloos de hypocrisie van het establishment aan de kaak stelt. De collectie van The Phoebus Foundation omvat een deelfonds met zowat vijfhonderd publicaties, her- en vertalingen van het oorspronkelijke Reynaertverhaal. Van zestiende-eeuwse uitgaven over Goethe tot Louis Paul Boon: de vos sterft nooit. In de reeks ?Phoebus Focus? gaan experts en wetenschappers in op topstukken uit de rijke collectie van kunststichting The Phoebus Foundation.‎