‎Cy Twombly: Vol 4: Unpublished Photographs, 1951-2011‎

‎Munchen, Schirmer/Mosel Verlag, 2013 Hardcover with dustjacket, 180 pages, 33 x 25 cm, fully illustrated. GER/ENG/FR. *fine condition. ISBN 9783829605892.‎

‎As his final creative surprise, Cy Twombly, one of the greatest 20th-century artists, has given to the world a huge body of photographic works emphasizing his unique artistic vision. Contrary to his sharp and teeming drawings his photographs are not sharp at all. They are colorful, soft, and warm and generate a painterly impression. Their coloring is as unique as their fine sense of composition. The photographs reveal the artist's vision embedded both in the world of objects and the nature that surrounds him. His own artistic creations and collection of art objects in his various homes are a favorite subject of his photographic studies. Twombly's photographic work offers a new dimension for understanding the artist's patintings, drawings, and sculptures. The new book features some 120 photographic prints from the Cy Twombly Estate in Gaeta, most of them previously unpublished.‎

‎Cy Twombly: Catalogue Raisonn of Sculpture, Vol. I+II (complete set) ‎

‎Munich, Schirmer / Mosel, 2019 Two volumes, each in their own slipcase, linen binding and dustjacket, 349 + 352 pages, 35 x 26 cm, fully illustrated. English edition. ISBN 3888148758.‎

‎Cy Twombly Catalogue Raisonn of Sculpture Volume I, 1946?1997 Cy Twombly Catalogue Raisonn of Sculpture Vol. I encompasses the period from Twombly?s earliest sculptures to 1997, the date of publication. The introductory text by Arthur Danto, ?Monuments and Metamorphoses: The Sculptures of Cy Twombly,? centers on the transformations and metamorphoses Twombly enacted in producing his sculptures, offering a sustained consideration of the relationship between materiality and content. Danto characterizes Twombly as engaging in ?transformative play? (16), allowing the sculptures to be simultaneously abstract and representational. He also considers Twombly?s use of found objects and refuse, the Platonic and Homeric references in the sculptures, and the relationships between Twombly?s much better-known paintings and the then-rarely exhibited sculptures. Danto argues that the sculptures assume a uniquely significatory role in Twombly?s practice, existing in more legible relationships to Twombly?s beloved myths and historical references than his work in other media through the transformations of readymade materials. This essay is likely to be of particular interest to scholars researching Cycnus (1978), which Danto considers throughout. The entries in this volume of the catalogue raisonn will be of special interest to scholars and students researching Twombly?s recurring sculptural motifs, including panpipes, palm leaves, columns, and carts or chariots. The volume also highlights the many direct connections to his painting practice throughout the same time period, with the same subjects explored in multiple media: e.g., Orpheus serves as a subject of a 1979 sculpture as well as multiple paintings produced in the 1970s, and Twombly?s interest in boats surfaces in sculptures such as Winter?s Passage: Luxor (1985) synchronously with its sustained emergence in his paintings. Though his use of white to ?unify? his sculptures?as Danto and others term it?is prevalent throughout, this volume also meticulously catalogues Twombly?s use of polychromy. This ranges from small traces on otherwise-white sculptures to other relatively unknown but exceptionally vibrant works. His engagements with both Greco-Roman antiquity?especially Homer?and Egyptian mythology are prevalent throughout. Eight entries of sculptures completed before 1950 also offer a rare glimpse into Twombly?s early practice. The catalogue raisonn is an indispensable specialist resource for students and scholars researching any of these core features of Twombly?s practice. This volume is also particularly useful to those focusing on the artist?s time in Rome, Bassano in Teverina, Gaeta, and Jupiter Island, Florida; those focused on the artist?s time in Lexington, VA should primarily reference vol. II. For further reading, Kate Nesin?s Cy Twombly?s Things (2014) provides a foundational account of the sculptures and their materiality; the catalogues raisonn s and Nesin?s text together provide a vital orientation for scholars researching any component of Twombly?s sculptural practice. Achim Hochd rfer?s Cy Twombly: Das Skulpturale Werk (2001) also offers a detailed and productive account of the sculptures. Cy Twombly Catalogue Raisonn of Sculpture Volume II, 1998?2011 Cy Twombly Catalogue Raisonn of Sculpture Vol. II includes sculptures produced from 1998 until the artist?s passing in 2011. The introductory text by Nicola Del Roscio offers a vital account of the sculptures ?based, not just on curatorial or statistical facts, but on what Cy said about his works and circumstances, memories and experiences that infused their meaning? (7). Del Roscio also explores the connections between Twombly?s sculptures and his works in other media (e.g., photography) and references embedded in the sculptures (e.g., the Gaeta skyline) that might otherwise be opaque to those without similar firsthand knowledge of Twombly?s practice. The connections Twombly drew between his sculptures and nature, as well as his working practices in producing them (?practical, immediate, and of a pitiful brutality? [13]) are addressed throughout. This later set of sculptures includes rare instances of fully polychromatic sculptures without any white paint (e.g., Turkish Delight, 2000), many of which reflect a major thematic concern with Middle Eastern references present throughout the later sculptures. These are contextualized alongside the more austere white sculptures for which Twombly is best known. Though primarily of interest to researchers interested in the sculptures themselves, this volume also provides many vital connections to other aspects of Twombly?s practice. See e.g., the entry for Untitled (2001, cat. no. 43), which notes that ?the colored paper tissues [used in the sculpture] are leftovers the artist used to dry the paint during the production of his series Lepanto? (100). Despite consistent returns to funerary themes, many of the sculptures are lighthearted and witty, embodying what Danto calls ?a pervasive spirit of play? (15) in his introduction to Vol. I. The catalogue includes exceptional sections of particular interest, including a selection of tombstones the artist designed for close friends?echoing the funerary themes present throughout many of the sculptures?and a selection of rejected and unfinished sculptures, both of which will be of interest to researchers focusing on the artist?s process. This catalogue will also be helpful for scholars researching Twombly?s time in Lexington, Virginia and Pfaffikon, Switzerland, where many of these sculptures were produced. Many sculptures in both Vols. I and II were produced in Twombly?s residences in Italy as well (note, however, that most in Vol. II were produced in Gaeta rather than Rome or Bassano in Teverina). Vol. II also includes biographical notes, lists of one person exhibitions, one person exhibition catalogues, group exhibitions, group exhibition catalogues, monographs, and general literature (until 2019). As with volume I, this is an indispensable reference for students and scholars working on the sculptures or on any of their thematic and material connections to the rest of Twombly?s practice. For further reading, see Kate Nesin?s Cy Twombly?s Things (2014), a foundational account of the sculptures and their materiality. The catalogues raisonn s and Nesin?s text together provide a vital orientation for scholars researching any component of Twombly?s sculptural practice. Achim Hochd rfer?s Cy Twombly: Das Skulpturale Werk (2001) also offers a detailed and productive account of the sculptures.‎

‎Cy Twombly: Photographs III 1951?2010‎

‎Munich, Schirmer/Mosel, 2011 Hardcover with dustjacket, 180 pages, 107 colour plates. English/French/German edition. *Fine condition. ISBN 9783829605373.‎

‎This volume includes Hubertus V. Amelunxen?s ?Schenkst der Rose Scweigen Ein,? published in German as well as English and French (?Do Not Interrupt This Rose,? ?Cette Rose Ne l?Interromps??), color plates, and a list of works exhibited. In his essay, Amelunxen asserts that the photographs are ?grounded in the art of light? With photography, Cy Twombly is seeing in another time. Seeing and Not-Seeing search for each other in the photographs in a manner distinct from his paintings and drawings? (170). Drawing on Roland Barthes, he considers the extent to which the composition of the photographs is deliberately mediated and manipulated by the artist. Amelunxen discusses a 1944 photograph of Twombly in Ogunquit, Maine at length. Returning to photographs taken by Twombly, he argues that ?[n]othing could be more anaethema to Cy Twombly than using an image to illustrate, to refer to other things; (almost) none of the references are in the paintings or drawing that deviated from the picture of his own signs or what was written? (171). He extends this reading to the photographs, finding them essentially immediate transmissions. Addressing Twombly?s earliest photographs in the 1950s, Amelunxen draws connections to the ?intellectual climate? (172) produced by figures such as Charles Olson and D.T. Suzuki. Traversing the breadth of Twombly?s photographic practice, Amelunxen maintains that ?[c]onsistently, the relation between visibility and invisibility manifests itself, approaching, in dialogue with Merleau-Ponty, the Not-Visible within the Visible? (173). He concludes with a repeated assertion of the photographs as conveying ?immediacy [and] vulnerability? (175). For more on Twombly?s photographs, see also From State of Mind to the Tangible: The Photographic Cosmos of Cy Twombly by Carlos Peris (2022); Cy Twombly: Photographs, Volume II, published by Gagosian (2015); Cy Twombly: Photographs 1951?2007, ed. Laszlo Glozer (2008); Twombly: Photographs, published by Brazos Projects (2000); Cy Twombly Photographs: Lyrical Variations, published by the Kawamura Memorial DIC Museum of Art (2016); Cy Twombly: Photographs, published by Matthew Marks Gallery (1993); Cy Twombly: A Survey of Photographs 1954?2011, published by Gagosian Gallery (2012); and Cy Twombly: Photographs, 1951?1999, ed. Nicola Del Roscio (2002). (Publication description by Jamie Danis)‎

‎Cy Twombly Photographs 1951-2007.‎

‎, Schirmer Mosel, 2008 Hardcover, 261 pages , ENG / GER, 330 x 255 x 35 mm, dustjacket, as New / wie Neu, illustrated in colours / illustrationen in Farbe. ISBN 9783829603683.‎

‎Ever since his student days, Cy Twombly has concerned himself with photography, but only in recent years has he turned it into a unique artistic concept- and an aesthetic sensation. Twombly's photographic pieces are documents of a fascinatingly enigmatic and personal poetry. His studios in Lexington and Gaeta, details of his own sculptures and collected sculptural items, landscape motifs, fruits and flowers appear in a mysteriously transformed manner on these delicate sheets. Printed in matte colors on matte paper using a dry-print process that imbues them with velvet and an almost grainy hue, the images are vaguely reminiscent of the pictorialist tradition in fin de siecle photography. In their minimalist way, however, generating aesthetic visions by the simplest of means, they are utterly contemporary. 'Photographs 1951-2007' presents Twombly's photographic works of over fifty years- full of surprises and breathtaking beauty.‎

‎Cy Twombly Photographs 1951-2007.‎

‎, Schirmer Mosel, 2008 Softcover 261 pages , text ENG / GER, 330 x 255 x 35 mm, illustrated in colours / illustrationen in Farbe. *new. ISBN 9783829605373.‎

‎Ever since his student days, Cy Twombly has concerned himself with photography, but only in recent years has he turned it into a unique artistic concept- and an aesthetic sensation. Twombly's photographic pieces are documents of a fascinatingly enigmatic and personal poetry. His studios in Lexington and Gaeta, details of his own sculptures and collected sculptural items, landscape motifs, fruits and flowers appear in a mysteriously transformed manner on these delicate sheets. Printed in matte colors on matte paper using a dry-print process that imbues them with velvet and an almost grainy hue, the images are vaguely reminiscent of the pictorialist tradition in fin de siecle photography. In their minimalist way, however, generating aesthetic visions by the simplest of means, they are utterly contemporary. 'Photographs 1951-2007' presents Twombly's photographic works of over fifty years- full of surprises and breathtaking beauty.‎

‎Cy Twombly: Catalogue Raisonn of Drawings, Vol. 1 - 8 (complete set) ‎

‎Munchen, Schirmer/Mosel, 2011 8 Volumes in slipcase, each in linen binding and illustrated dustjacket, 25.5 x 35 cm, Fully illustrated. English edition. *Fine condition.‎

‎Cy Twombly Catalogue Raisonn of Drawings Vol. 1, 1951?1955 Cy Twombly Catalogue Raisonn of Drawings Volume 2, 1956 - 1960 Cy Twombly Catalogue Raisonn of Drawings Volume 3, 1961?1963 Cy Twombly Catalogue Raisonn of Drawings Volume 4, 1964?1969 Cy Twombly Catalogue Raisonn of Drawings Volume 5, 1970?1971 Cy Twombly Catalogue Raisonn of Drawings Volume 6, 1972?1979 Cy Twombly Catalogue Raisonn of Drawings Volume 7, 1980?1989 Cy Twombly Catalogue Raisonn of Drawings Volume 8, 1990?2011. Cy Twombly Catalogue Raisonn of Drawings Vol. 1 includes works on paper produced between 1951 and 1955. It includes several works on paper that the artist produced in Lexington, VA between 1951 and 1952 which will be of particular interest to scholars focused on his early practice. It also catalogues entries from early sketchbooks as well as his famed North African Sketchbooks (1953). It is an indispensable resource for scholars writing about either the sketchbooks themselves or their substantive connections to subsequent paintings, as the sketchbooks are reproduced here in their entirety. The volume also includes Study for Tiznit (1953), a preliminary for one of Twombly?s more frequently exhibited early paintings, and sketches completed in Augusta, Georgia while Twombly was stationed there during his brief military service. The latter will be of particular interest to those writing about Twombly?s line and his idiosyncratic hand, as this was the method through which he later reported developing his signature childlike (but never childish) scrawl. The volume also includes a large set of drawings the artist reportedly intended to publish as an album, though this project never came to fruition. It will be of interest to scholars researching Twombly?s printmaking practice as well, as there are numerous formal resemblances to his later prints throughout; see Cy Twombly Catalogue Raisonn of Printed Graphic Work 1953?2002, ed. Heiner Bastian. Those researching the North African Sketchbooks might also consult Anne-Grit Becker?s ?Marks and Material in Cy Twombly's North African Sketchbooks? (2017) and Cycles and Seasons, ed. Nicholas Serota (2008). The relationship between early paintings and drawings is discussed in Carol A. Nigro?s ?Cy Twombly?s Humanist Upbringing? (2008). For more on early works, including those produced at Black Mountain College, primary sources are gathered and reproduced in Writings on Cy Twombly, ed. Nicola del Roscio (2002). Those interested in Twombly?s line and the ?unlearning? of his hand, as well as later iterations like the ?blackboard? paintings, should consult Roland Barthes?s classic text ?The Wisdom of Art? (1979) as well as the catalogue in which it originally appeared, Cy Twombly: Paintings and Drawings 1954?1977. The Gagosian Gallery catalogue In Beauty it is finished: Drawings 1951?2008 (2018) also includes relevant material, as does Cy Twombly at the Hermitage: Fifty Years of Works on Paper, ed. Julie Sylvester (2008). There are also many connections to the sculptures, especially via the North African Sketchbooks, on which see Kate Nesin, Cy Twombly?s Things (2014). (Publication description by Jamie Danis)‎

‎Magyarorszag Történeti Emlékei 896-1896 (Souvenirs de Hongrie Exposition Nationale du Millénaire)‎

‎Budapest - Vienne, Ministère du Commerce / Martin Gerlach et Cie 1901 En hongrois. 2 tomes. In-folio, reliure de l’éditeur pleine toile verte, dos lisse, titre et tomaison dorés, premier plat orné des armoiries de la Hongrie contrecollées, 200 - 468 pp., 539 figures, 90 planches sous serpente légendée. Intérieur frais, reliures d’usage et en bon état.‎

‎En 1896, l’exposition du Millenium est organisée, pour célébrer le millénaire de la conquête du territoire hongrois par les Magyars, mais aussi pour montrer une image nationale de la Hongrie faisant partie de l’Europe qui toujours en lutte pour sa liberté, connaît un progrès économique et industriel particulièrement dynamique. Bon état d’occasion ‎

‎L'ARCHITECTURE PRIVÉE AU XIX° SIÈCLE NOUVELLES MAISONS DE PARIS ET DES ENVIRONS Deuxième série, tome 2, Maisons de campagne‎

‎Paris DUCHER et Cie 1872 1 folio cartonnage porte-folio Section I : Villas ou châteaux et chalets - jardins et leurs dépendances diverses (31 planches, dont trois doubles numérotées comme deux, complet) Section II : Volières, poulaillers, pigeonniers, serres chaudes, serres-salons etc (13 planches, dont une double et une en couleurs numérotée comme double, complet) Section III : Jardins, maisons de garde, loges de jardinier-concierge, kiosques et pavillons de repos, exèdres, embarcadères nautiques, abris, etc, etc (25 planches, complet) Section IV : Clôtures de parc, de jardin, etc., en maçonnerie, en fer, en bois, etc., etc. (13 planches dont une double numérotée comme 2, complet) Venez consulter l'ensemble de mes objets sur mon site antharedeschuyter.fr ! ‎

7 Images

‎En tout 82 planches in folio sur papier vélin de très bonne qualité, envoi port compris pour la France ! Envoi via Colissimo avec assurance, devis pour les pays étrangers Porte-folio en assez mauvais état, bon à restaurer, mais les planches, elles, sont en bon état ! Remises possibles sur les achats en lot, achetez plusieurs objets à la fois ! Reçoit sur rendez-vous pour consultation des ouvrages.‎

‎L'ARCHITECTURE PRIVÉE AU XIX ème SIÈCLE Deuxième série, tome 3, DÉCORATIONS INTÉRIEURES ‎

‎Paris DUCHER et Cie 1872 1 folio cartonnage porte-folio Troisème volume : Section I : Établissements de commerces : décorations intérieures de magasins, de restaurants, de cafés, etc., etc. (18 planches, complet) Section II : Décorations des parties communes des habitations : passages de portes cochères et d'allées, passages vestibules, cages d'escalier, etc., etc. (21 planches, dont 3 en couleurs numérotées comme doubles et une double, complet, la planche n° 18 est abîmée) Section III : Décorations d'appartements : antichambres, salles à manger, grands et petits salons, galeries, salles de billard, chambres à coucher, cabinets de toilette, cabinets de travail, (22 planches, complet)Section IV : Détails divers : Portes de salon et de salle à manger, trumeaux, plafonds, corniches, etc., etc. (19 planches, dont une double et une en couleurs numérotée comme double, complet) Venez consulter l'ensemble de mes objets sur mon site antharedeschuyter.fr ! ‎

8 Images

‎En tout 80 planches in folio sur papier vélin de très bonne qualité, envoi port compris pour la France !Envoi via Colissimo avec assurance, devis pour les pays étrangers Quelques planches vers la fin du volume comportent une mouillure en coin Remises possibles sur les achats en lot, achetez plusieurs objets à la fois ! Reçoit sur rendez-vous pour consultation des ouvrages.‎

‎Femme nue.‎

‎Berln, Cassirer, 1914, Holzstich. Blattgrösse: 22,5 x 14,5 cm.‎

‎Holzstich von Jacques Beltrand (1874–1977) nach Paul Cézanne.‎

‎Klaus Verscheure - Black is a Color‎

‎, Stockmans - Devos , 2017 Hardcover 280 pages 23,5 x 30,5 cm. Text NL / ENG. ISBN 9789077207598.‎

‎Kunstenaars hebben al eeuwenlang aandacht besteed aan dood en vergankelijkheid, maar ook aan het lijden en het veroorzaken daarvan door rechtspraak en marteling, oorlog en wreedheid. De bomen die hij schildert zijn niet zomaar het onderwerp omwille van hun picturale en pittoreske betekenis. De berglandschappen zijn er niet om het landschap en de woningen niet om hun architecturale pretenties, hij schildert ze om wat er niet meer is. Afwezigheid speelt een grote rol. Aan de bomen hebben ooit mensen gehangen, meestal na een lynchpartij. De huizen, of het nu riante villa?s zijn, modernistisch of romantisch aandoende stulpjes, zijn elk sc ne geweest voor een misdaad. Geweld is een blijvend gegeven in het werk van deze nochtans vreedzame kunstenaar. Hoe onschuldig zijn titels ook mogen klinken, de kijker mag zich steeds verwachten aan een of andere dreiging. Zijn reeks ?Smiling Faces? toont de gezichten van misdadigers, gebaseerd op zogenaamde mug shots, de foto?s die de politie van delinquenten maakt. Daan Rau Lege landschappen met verdwaalde bomen; verlaten bergpanorama?s; suburban huizen zonder spoor van leven; koude, afwezige mug shots; cartooneske schetsen van geboeide mensen; fragmenten van gezichten van slachtoffers... De schilderijen die Klaus Verscheure maakt, roepen steeds weer dezelfde vraag op: ?Waarom toont de kunstenaar dit (lege) beeld, wat gebeurt er hier?? Een vraag zonder antwoord, want er gebeurt op het afgebeelde moment inderdaad niets. Luc Depuydt ‎

‎Bruegel and Beyond Netherlandish Drawings in the Royal Library of Belgium, 1500-1800.‎

‎, Hannibal Books, 2022 Hardcover, 305 x 240 mm, 392 pages, Fine!, ENG edition . ISBN 9789464366389.‎

‎Awe-inspiring reference work on the Flemish and Dutch art of drawing from the sixteenth to the eighteenth century, with masterly drawings from the collection of the Royal Library of Belgium (KBR). The Royal Library of Belgium in Brussels houses the largest collection of drawings in the country. Among its highlights are works by leading artists of the Low Countries, including Pieter Bruegel I, Joris Hoefnagel, Hendrick Goltzius, Peter Paul Rubens, Anthony van Dyck, and Jacques Jordaens. As the library's collection has been little studied up to now, it is largely unknown to scholars and the general public. To acquaint a wider audience with these important works of art, this richly illustrated publication brings together for the first time over one hundred master drawings from the Royal Library's vaults. Not only new art-historical insights are presented, but also numerous rediscovered drawings and revised attributions to artists such as Maarten van Heemskerck and Karel van Mander. This carefully researched book, written by thirty specialists in the field, aims to make a significant contribution to our knowledge of the history of Netherlandish drawing from the sixteenth to the eighteenth centuries. Daan van Heesch is Head of Prints and Drawings at the Royal Library of Belgium. Sarah Van Ooteghem is an independent art historian. Between 2012 and 2018, she was Assistant Curator of Drawings at the Royal Library of Belgium. Joris Van Grieken is Curator of Prints and Drawings at the Royal Library of Belgium.‎

‎Cortes del BARROCO : de Bernini y Vel zquez a Luca Giordano : Palacio Real de Madrid, Palacio Real de Aranjuez, 15 de octubre de 2003-11 de enero de 2004‎

‎, Les Punxes, 2003 Softcover, 395 paginas , Spanish, 290 x 240 x 30 mm, Nuevo !, ilustraciones de color y b/n ISBN 9788496008380.‎

‎ El Barroco representa el apogeo tanto de la pintura como de todas las dem s artes, tambi n conocido como el Siglo de Oro. La pintura barroca en Espa a se caracteriza por los bodegones o retratos, con un hermoso equipo de pintores. Su m ximo exponente fue el maestro Diego de Silva y Vel zquez, genio de la luz y la oscuridad y el mayor retratista del periodo barroco, considerado actualmente uno de los mejores pintores de su poca y de todos los tiempos.‎

‎Voyage Rome. Les Artistes Europ ens au XVI si cle‎

‎Bruxelles, Fonds Mercator, 2012 Couverture reliee sous jaquette, 255 x 285mm;, 264pp., 250 illustrations en couleur. neuf. ISBN 9789061537076.‎

‎D s le d but du XVIe si cle, Rome a t le p le d'attraction des artistes dans l'Europe enti re. D'Espagne, des anciens Pays-Bas, de France, ils accouraient pour s'emparer de la culture qui s'y tait impos e. De m me qu'aujourd'hui les jeunes se rendent en Angleterre ou aux tats-Unis pour am liorer leur anglais, ils venaient apprendre parler italien dans leurs oeuvres - surtout en peinture. Leur formation n' tait pas compl te sans le voyage. Ils copiaient les antiques, tudiaient les ma tres, cherchaient entrer dans les ateliers - o leur pr sence a t rarement d tect e jusqu'ici - et, parfois, d crochaient des commandes. Alonso Berruguete, le grand sculpteur de Castille, et Pedro Machuca, qui fit b tir Grenade le palais de Charles Quint dans l'Alhambra des Maures, ont longtemps collabor avec Rapha l avant de regagner leur pays. Le Flamand Michel Coxcie a ex cut une chapelle fresque en partant des projets qu'en avait laiss s Sebastiano del Piombo. Perin del Vaga est descendu dans les grottes de la Domus Aurea de N ron en compagnie d'un paysagiste flamand, qui a t son aide. Vasari mentionne parmi ses collaborateurs la salle des Cent jours Pedro de Rubiales, qui laissera un chef-d'oeuvre Naples pour le vice-roi, et Gaspar Becerra, qui entrera au service de Philippe II. Dans les palais romains sont intervenus des peintres tels qu'Antoine Caron, qui travaillera la cour de Catherine de M dicis et de Henri II, Marten de Vos, qui dirigera le premier atelier d'Anvers, et Navarrete, el Mudo , que Philippe II chargera de nombreuses toiles l'Escurial. M me Pieter Bruegel a fait le voyage - tout en tournant le dos aux antiques et aux ma tres pour regarder seulement la nature. Lorsque, dans les ann es soixante-dix, la belle mani re italienne brille Rome de ses derniers feux, parmi les protagonistes figurent le Bruxellois Hans Speckaert, qui s'y teindra encore jeune, l'Anversois Bartholom us Spranger, qui partira s'installer Prague, chez Rodolphe II, et le jeune Candiote qui s' tait vant de pouvoir refaire le Jugement dernier la chapelle Sixtine et qui deviendra en Espagne el Greco . l'aube du nouveau si cle, les Flamands formaient Rome une nombreuse colonie, dont une foule de paysagistes, quand y descendit le Francfortois Adam Elsheimer et qu'y s journa Rubens, ouvrant la voie au baroque.‎

‎O ESPREITADOR DO MUNDO NOVO. Obra critica, moral, e divertida ‎

‎Lisboa Na Offic. Simao Thaddeo Ferreira 1802 in 8 (20x14) 1 volume reliure pleine basane fauve de l'époque, dos lisse orné de faux-nerfs dorés, pièce de titre, complet des 12 parties (twelve parts) de 32 pages chacune (soit 12 x 32 pages), et illustré de 12 vignettes gravées sur bois (répétées pour chaque mois, la première sur la page de titre (one woodcut vignette to title, and a further 11 identical woodcut vignettes in the text for each month). Rare et complète première édition (First edition). Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Couverture rigide Ed. originale ‎

‎L'ART FLAMAND ET HOLLANDAIS. Belgique et Pays-Bas 1520-1914.‎

‎Citadelles & Mazenod Paris 2003 Fort in-4 carré ( 320 X 255 mm ) de 611 pages, pleine toile sous jaquette illustrée en couleurs et étui maroquiné taupe. Superbe et abondante iconographie en couleurs et en noir dans et hors-texte. Très bel exemplaire en parfait état.‎

‎UN CHARPENTIER, A CARPENTER - LES COSTUMES ET METIERS DE CHINE, COSTUMES CHINOIS, planche n° 30. Gravure‎

‎Londres W. Miller 1799 32.5 x 25 cm COSTUMES CHINOISGravure sur cuivre au petit point, rehaussée couleur. Gravure de J. DADLEY d'après PU QUA. Vendue avec sa planche de texte recto en anglais et verso en français de George henry MASON. Publiée en mai 1799 par W. MILLER, Old Bond Street, Londres.Cette gravure est une véritable gravure ancienne. Se méfier de certaines gravures dites "artistiques" qui ne sont en fait que des procédés de reproduction faites avec des imprimantes jet d'encre de très fine qualité !32.5 x 25 cm‎

‎Envoi sous carton plat par lettre recommandée avec assurance ; pour plusieurs gravures les frais d'envoi sont comptés une seule fois Bon état avec des traces de scotch au dos Remises possibles sur les achats en lot, achetez plusieurs objets à la fois ! Reçoit sur rendez-vous pour consultation des ouvrages.‎

‎UN MAÇON DE BRIQUE, A BRICKLAYER - LES COSTUMES ET METIERS DE CHINE, COSTUMES CHINOIS, planche n° 29. Gravure‎

‎Londres W. Miller 1799 32.5 x 25 cm COSTUMES CHINOISGravure sur cuivre au petit point, rehaussée couleur. Gravure de J. DADLEY d'après PU QUA. Vendue avec sa planche de texte recto en anglais et verso en français de George henry MASON. Publiée en mai 1799 par W. MILLER, Old Bond Street, Londres.Cette gravure est une véritable gravure ancienne. Se méfier de certaines gravures dites "artistiques" qui ne sont en fait que des procédés de reproduction faites avec des imprimantes jet d'encre de très fine qualité !32.5 x 25 cm‎

‎Envoi sous carton plat par lettre recommandée avec assurance ; pour plusieurs gravures les frais d'envoi sont comptés une seule fois Bon état avec des traces de scotch au dos Remises possibles sur les achats en lot, achetez plusieurs objets à la fois ! Reçoit sur rendez-vous pour consultation des ouvrages.‎

‎UN TAILLEUR DE PIERRES, A STONE-HEWER - LES COSTUMES ET METIERS DE CHINE, COSTUMES CHINOIS, planche n° 32 . Gravure‎

‎Londres W. Miller 1799 32.5 x 25 cm COSTUMES CHINOISGravure sur cuivre au petit point, rehaussée couleur. Gravure de J. DADLEY d'après PU QUA. Vendue avec sa planche de texte recto en anglais et verso en français de George henry MASON. Publiée en mai 1799 par W. MILLER, Old Bond Street, Londres.Cette gravure est une véritable gravure ancienne. Se méfier de certaines gravures dites "artistiques" qui ne sont en fait que des procédés de reproduction faites avec des imprimantes jet d'encre de très fine qualité !32.5 x 25 cm‎

‎Envoi sous carton plat par lettre recommandée avec assurance ; pour plusieurs gravures les frais d'envoi sont comptés une seule fois Bon état avec des traces de scotch au dos Remises possibles sur les achats en lot, achetez plusieurs objets à la fois ! Reçoit sur rendez-vous pour consultation des ouvrages.‎

‎Van Waelhem tot Walem : historiek van een kleine gemeente met een groot verleden‎

‎, Walem : Heemkundige Kring Dr. Croquet v.z.w. , 2005, 2005 Gebonden, Hardcover 368 PAG. met veel illustraties/w. prima staat.‎

‎Van Waelhem tot Walem : historiek van een kleine gemeente met een groot verleden‎

‎Jan Desmarets. SIGNED.‎

‎sint Martens Latem, Guy Pieters Gallery, 2003 Gebonden, geel linnen met orig. stofslag, 264pp., 21.5x21.5cm., doorlopend geillustr. in kleur.‎

‎**Met opdracht en gesigneerd door de kunstenaar‎

‎Op-Sinjoorke en zijn kornuiten De Lotgevallen van Opsinjoorke.‎

‎, Lier : N.V. Jozef Van In & C , 1960, Oorspronkelijk uitgevers omslag, 45 pagina's met illustraties., tweede druk.‎

‎Titel varieert: De lotgevallen van Op-Sinjoorke Deel van Kleine belfort-reeks. - Lier; vol. 1960: 2‎

‎DAF (Documents d'Archéologie Française) N° 24 : Boussargues (Argeliers, Hérault) - Un habitat ceinturé chalcolithique : les fouilles du secteur ouest‎

‎ 1990 Editions de la Maison des Sciences de l'Homme Paris - N° 24 - 1990 - Ouvrage publié avec le concours du ministère de la Culture, de la Communication, des Grands Travaux et du Bicentenaire, de l'Education nationale et du CNRS - In-4 broché - 223 pages - Nombreuses figures et reproductions photographiques dans l'ouvrage‎

‎Bon état ‎

‎DAF (Documents d'Archéologie Française) N° 97 : L'industrie du silex du Ve au IVe millénaire dans le sud-est du Bassin parisien - Rubané, Villeneuve-Saint-Germain, Cerny et groupe de Noyen‎

‎ 2004 Editions de la Maison des Sciences de l'Homme Paris - N° 97 - 2004 - Ouvrage publié avec le concours du ministère de la Culture, de la Jeunesse, de l'Education et de la Recherche, du CNRS et de l'Institut national de recherches archéologiques préventives - In-4 broché - 220 pages - Nombreuses figures et reproductions photographiques dans l'ouvrage‎

‎Bon état ‎