‎CONSTRUCTION DES USINES ET DES ETABLISSEMENTS INDUSTRIELS‎

‎Ecole Spéciale des Travaux Publics. 1910. In-8. Relié. Etat d'usage, Couv. légèrement passée, Dos satisfaisant, Déchirures. 384 pages. Illustré de nombreux schémas et plans en noir et blanc dans le texte, et sur quelques grandes planches dépliables hors texte. Texte en caractères cursifs.. . . . Classification Dewey : 720-Architecture‎

‎(Rare) Ecole Spéciale des Travaux Publics, du Bâtiment et de l'Industrie, dir. par M. Léon EYROLLES. Elaboration d'un avant-projet. Murs en maçonnerie. Voûtes de caves. Charpentes métalliques. Monographies d'usines... Classification Dewey : 720-Architecture‎

‎Manière de rendre toutes sortes d'édifices incombustibles, ou Traité sur la construction des voûtes, faites avec des briques et du plâtre, dites voûtes plates, et d'un toit de brique, sans charpente, appelé comble briqueté.‎

‎Paris, Duchesne, 1754. In-12 de 80 pp. 2 grandes planches repliées (47 x 38 cm), veau marbré, dos orné à nerfs, pièce de titre en maroquin rouge, tranches rouges (reliure de l'époque). ‎

‎Édition originale illustrée de deux planches gravées et repliées. Le comte Félix-François d'Espié (1708-1792), officier de cavalerie, gouverneur de Muret en 1748, entendait sécuriser l'architecture urbaine avec cette invention ignifuge, qui remplacerait les charpentes traditionnellement en bois, par des voûtes en brique et en plâtre. L'invention a été validée par le commissaire de l'Académie royale d'architecture de la ville de Toulouse en août 1753. Coiffes et coins frottés. Conlon, 54.656. ‎

‎TRAITE ELEMENTAIRE D ARCHITECTURE - COMPLET 76 PLANCHES- COMPRENANT L ETUDE COMPLETE DES CINQ ORDRES - LE TRACE DES OMBRES ET LES PREMIERS PRINCIPES DE CONSTRUCTION‎

‎CH. MASSIN ET CIE. NON DATE. In-4. En feuillets. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 76 planches en noir et blanc. . Sous Emboitage. . Classification Dewey : 720-Architecture‎

‎Pierre Esquie fut un architecte du sud-ouest de la France. Grand Prix de Rome, il travailla avec Eugène Viollet-le-Duc. Classification Dewey : 720-Architecture‎

‎Traité élémentaire d’architecture comprenant l’étude complète des cinq ordres, le tracé des ombres et les premiers principes de construction.Ouvrage divisé en soixante-seize planches dessiné et mis en ordre par Pierre Esquié.‎

‎ Paris, Ch. Massin sans date, 275x215mm, Cartable à ataches de l’éditeur. Bien complets des 76 planches. Bon état. ‎

‎Traité élémentaire d'Architecture comprenant l'étude complète des cinq ordres, le tracé des ombres et les premiers principes de construction‎

‎Paris, Ch. Massin & Cie, s.d. In-folio : Ouvrage divisé en 76 planches volantes sous étui cartonné, fermeture à 3 lacets. Très bon état.Complet des 76 planches.‎

‎"Quartier cathédral - Une cité dans la ville (Collection ""Patrimoine vivant"")"‎

‎R.E.M.P.A.R.T. - Desclée de Brouwer. 1994. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 127 pages. Nombreuses photos monochromes dans et hors texte.. . . . Classification Dewey : 720-Architecture‎

‎"Collection ""Patrimoine vivant"", dirigée par André Châtelain. Classification Dewey : 720-Architecture"‎

‎Quartier cathédral une cité dans la ville - collection patrimoine vivant‎

‎Desclee de Brouwer. 1998. In-8. Broché. Etat d'usage, Couv. convenable, Dos satisfaisant, Intérieur frais. 127 pages - quelques photos et plans en noir et blanc dans le texte. . . . Classification Dewey : 720-Architecture‎

‎collection patrimoine vivant Classification Dewey : 720-Architecture‎

‎Cent maisons médiévales en France (Du XIIe au milieu du XVIe siècle). Un corpus et une esquisse‎

‎1 vol. in-4 br., Monographie du CRA 20, CNRS Editions, 1998, 450 pp.‎

10 Images

‎Bel exemplaire en très bel état‎

‎Traité élémentaire d'architecture comprenant l'étude complète des cinq ordres le tracé des ombres et les premiers principes de construction.‎

‎Paris Librairie de la construction moderne. 1 volume IN4 en chemise cartonnée à lacets. Dos toilé (accrocs). Ouvrage divisé en 76 planches dessiné et mis en ordre par P.Esquié. Manque les planches16-17-18-21-22-28-29-46et 47. ‎

‎Traité élémentaire d’Architecture comprenant l’étude complète des cinq ordres, le tracé des ombres et les premiers principes de construction. Ouvrage divisé en soixante-seize planches‎

‎Ch. Massin et Cie, éditeurs sd In-folio, portfolio à lacet cartonné, dos restauré, complet de ses planches. Intérieur frais. En l’état.‎

‎ Bon état d’occasion ‎

‎Traité élémentaire d'architecture comprenant l'étude complète des Cinq Ordres, le Tracé des Ombres et les Premiers Principes de Construction. Ouvrages divisé en 76 planches.‎

‎Paris, Charles Schmid, Editeur., 1900, in-4, demi-chagrin, dos long, titre à l'or. Frottements au dos, Bon état intérieur. ‎

10 Images

‎VOORUIT Icon & Future. Essay by Christoph Grafe and Beatrice Josse, Interview with artists Bonom, Strook and Christoph Hefti. Interview with architect Geert Pauwels by Egon Verleye‎

‎, MER Paper Kunsthalle, 2020 Softcover, 292 x 215 mm, 160 pages, English / NL edition. ISBN 9789463930796.‎

‎This book offers an architectural report of the metamorphosis that the Vooruit art center has known during the last ten years. Spurred on by a growing need for the arts center to physically adapt and make new connections with its surroundings and its users, the iconic monument underwent a transformation from a cultural home to an urban platform. The book further elaborates on the vision of the architect and how he wants to build on this art and architecture treasure from the past in a unique and challenging way. The social importance and responsibilities of the arts center in the city are deepened in a debate, in which sustainability and greening are also given a place. In addition, art in the public space becomes an important theme in the publication. Three artists give their reflection on the new architecture through interviews. Their artworks are a lasting witness. In the first part, architecture reviewer Christoph Grafe elaborates on the social and architectural importance of the transformation. In the second part, Louis Demey (ov) enters into a dialogue with architect Geert LM Pauwels. Finally, the artists Christophe Hefti, Strook and Bonom give their view of art in the public space. The dialogue between old and new is beautifully portrayed by the powerful photography of Karin Borghouts, Michiel Devijver and Reinhart Cosaert. Authors Essay by Christoph Grafe and Beatrice Josse, Interview with artists Bonom, Strook and Christoph Hefti. Interview with architect Geert Pauwels by Louis Demey. Photography Reinhart Cosaert, Karin Borghouts, Reiner Lautwein, Stijn Bollaert, Michiel Devyver‎

‎JOHAN CRETEN Strange Fruit‎

‎, Transit Gallery, 2015 Hardcover, , 245 x 175 mm, 80 pages, English edition. ISBN 9789081240734.‎

‎Johan CRETEN ( 1963, Belgium) is a Flemish sculptor based in Paris but working wherever he has the opportunity, from Miami to Mexico, from Den Haag to New York. He trained as a painter but soon turned to ceramics and bronze for his work. He has exhibited at the Louvre, at the Mus e Nationale Eug ne Delacroix in Paris, the Bass Museum of Art in Miami Beach, the Istanbul Biennale, the Mamco in Geneva, the Middelheimmuseum in Antwerp among many other places‎

‎Essen (Allemand/Anglais/Français/Néerlandais).‎

‎Couverture rigide. Reliure toile. 74 pages.‎

‎Livre en allemand. Editions Industriedruck AG, Vers 1970.‎

‎Die romanische und die gothische Baukunst. Erstes Heft: Die Kriegsbaukunst.‎

‎Darmstadt, Arnold Bergsträsser, 1889. Lex8vo. Contemp. hcloth. Stamp. on titlepage. 259 pp., plates and textillustrations.‎

‎(Handbuch der Architectur. 2. Theil, 4. Bd.,Erstes Heft).‎

‎THE STORY OF CARPETS ‎

‎, STUDIO EDITIONS 1994, 1994 Hardcover, 160 pages, ENG, 305 x 240 mm, in good condition, lots of info, illustrations in colour. ISBN 9781851707270.‎

‎This book explains how a carpet is made, and looks at the associated symbolism of design and color. It is also a guide to choosing, buying and caring for a carpet, and a directory of carpet types.‎

‎Grinling Gibbons and the Art of Carving.‎

‎london, 1998, in-4 pleine toile, jaq. (223 pages).‎

‎Le plus grand sculpteur anglais du 18e siècle. ‎

‎Painters and Sitters in Early-Seventeenth Century Rome. Portraits of the Soul‎

‎, Brepols, 2023 Hardback, 336 pages, Size:220 x 280 mm, Illustrations:6 b/w, 146 col., Language: English. ISBN 9782503590837.‎

‎Summary Significant innovations in portraiture occurred during the transitional period from the end of the sixteenth-century to the early seventeenth-century in Rome. Portraits by Annibale Carracci, Valentin de Boulogne, Anthony van Dyck, Simon Vouet and Gianlorenzo Bernini display a loosening of formality and a trend towards movement. These artists produced a portrait type that was more inclusive of the viewer, more communicative, more revealing of a private face. The portraits in this study were less likely to celebrate achievements, family or social standing, titles, rank or station. Instead they portray individuals who exist apart from their professional personae. They reveal unique and characteristic traits of their subjects captured at a particular moment in time. They used subtle affetti, painting technique and colour to express mood and atmosphere and evoke the presence of the sitter. The sitters include poets, courtiers, buffoons and the artists themselves, and each composition is attentive to the thoughts, emotions and imaginative life of the individuals. TABLE OF CONTENTS Acknowledgements List of Illustrations Introduction The image breathes Rhetorical devices in portraiture The ?motions of the mind?: painting the soul From the Renaissance to the Baroque Chapter One A portrait ?most rarely done full face? of a learned prelate Early seicento portraiture in Rome Venice and colorito Caravaggio and Annibale: ?the new baroque illusionism? The ?proximity and close association of the Monsignore and Annibale? Domenichino and Agucchi Agucchi's imprese: textual expressions of identity Erminia and the Shepherds Venere Dormiente - The Sleeping Venus The portrait of Giovanni Battista Agucchi Annibale Carracci as portraitist Annibale's illness Domenichino and portrait painting Del Mezzo: yearning for the middle Il Trattato della Pittura A portrait by Annibale Carracci or Domenichino? Chapter Two Painting as silent poetry: portraits of Giambattista Marino From decorum to modernit Ut pictura poesis Dicerie Sacre La Galeria Rome: ?with trembling feet, I leave behind myself? Early Roman portraits Caravaggio's portrait: ?another me . . . in two divided? Paris: the portrait by Frans Pourbus ?is very dear to me? Marino's triumphant return to Rome: ?music always, and always poetry, morning and evening? Ottavio Leoni's portraits of writers Maffeo Barberini's circle of poets portraits of the soul ?There are thousands of portraits of me in Rome?: Simon Vouet's lost portrait The ?speaking portrait? in Rome Virginio Cesarini: Fenice degl'ingegni Portrait of a buffoon Chapter Three The upside-down world The parasite The buffoon portrait in the Renaissance: the ?good-natured fool? The sixteenth century: ?the princely tables are cluttered with buffoons? Gabriele Paleotti: ?deformity not deformedly rendered? The seventeenth century: the individual in buffoon portraits Hairy Harry, Mad Peter, and Tiny Amon: court mascots and servants in an urban Arcadia Giangiovetta and the dwarf of the duke of Cr qui Raffaello Menicucci: the buffoon count of Monte San Savino Celeberrimus in utroque Orbe Terrarum: the printed portraits of Raffaello Menicucci Valentin de Boulogne Il Cassero: Rocca del Conte Valentin, il Babuino and Menicucci Tristano Martinelli: from buffoon to actor Bernardino Ricci: Il Tedeschino The ?self? portrait: the life makes the age Chapter Four Artist as virtuoso ?Done with the aid of a mirror? Narcissus: ?as he drank, he chanced to spy the image of his face? The reflection of the Creator Why paint self-portraits? Annibale Carracci's Self-portrait on an Easel Artemisia Gentileschi: ?the soul of this woman? Simon Vouet: absolute absorption Gian Lorenzo Bernini: showing that which does not exist Vel zquez in Rome: brushwork and the blur The expressive power of the brush Conclusion ?Here I am? Appendix I Appendix II Appendix II Bibliography Abbreviations Primary and Secondary Sources Photographic Credits Notes Index Key Subjects and Concepts‎

‎PIONIERS IN KERAMIEK /// PIONEERING CERAMICS‎

‎, Waanders Uitgevers, 2024 PB, 136 p, ENG / NL. edition, 270 x 235 mm, NIEUW / NEW, illustraties / illustrations in kleur / in color. ISBN 9789462625327.‎

‎Dit boek werpt nieuw licht op Delfts aardewerk uit de 17e en 18e eeuw. In deze periode nam de Delftse aardewerkindustrie een vlucht, onder sterke invloed van een veranderende wereld. Delftse plateelbakkers werden gezien als echte innovators. Vandaag beleeft keramiek opnieuw een bloeiperiode. Een nieuwe voorhoede van Nederlandse makers herontdekt het eeuwenoude ambacht en neemt het materiaal en haar betekenis opnieuw onder de loep. Pioniers in Keramiek zoomt in op vernieuwing binnen het keramiek-ambacht. Het basisrecept van keramiek is door de eeuwen heen nauwelijks veranderd, maar de wereld waarin keramiek wordt gemaakt wel. De publicatie gaat nader in op overeenkomsten en verschillen tussen pionierende makers van toen en nu.**************This book sheds new light on Delft pottery from the 17th and 18th centuries. During this period, the Delft pottery industry took off, under the strong influence of a changing world. Delft pottery makers were seen as real innovators. Today, ceramics is once again experiencing a boom. A new vanguard of Dutch makers is rediscovering the age-old craft and reexamining the material and its meaning. Pioneers in Ceramics focuses on innovation within the ceramic craft. The basic recipe of ceramics has hardly changed over the centuries, but the world in which ceramics are made has. The publication examines the similarities and differences between pioneering makers of then and now.‎

‎L'art abstrait est il académisme ? Collection le cavalier d'épée. Edité par Editions de Beaune., Paris, 1950‎

‎55. edition de beaune 1950, broche (14 cm X 23 cm), 30 pages, edition beaune 1950, en bon etat, couverture legerement tachee, photos possibles‎

‎Pas de frais de port‎

‎Pierre Estoppey. 10 poèmes inédits de Jacques Chessex accompagnés de 5 dessins orig. de Pierre Estoppey.‎

‎Lausanne, Au Verseau, 1986, in-4to, 76 p., ill. en couleurs + 5 dessins, brochure originale, avec sa bande de publicité verte "10 poèmes inédits de Jacques Chessex...",‎

‎ETUDES ARCHÉOLOGIQUES, HISTORIQUES ET STATISTIQUES SUR ARLES, contenant la description des monuments antiques et modernes ainsi que des notes sur le territoire‎

‎Aubin, Libraire-Editeur Aix 1838 In-8 ( 215 X 135 mm ) de [8] ff. I-VIII puis 9-399 pages, demi veau acajou à coins, dos à nerfs orné de filets dorés, pièce de titre de basane anthracite, tranches marbrées ( Reliure de l'époque ). 7 planches hors-texte dont 1 dépliante en frontispice. EDITION ORIGINALE. Rousseurs passim, bel exemplaire.‎

‎Études archéologiques, historiques et statistiques sur Arles, contenant la description des monuments antiques et modernes, ainsi que des notes sur le territoire. Par M. Jean-Jules Estrangin.‎

‎Aix, Aubin, 1838, 1 volume, in-8, relié, [14]-399 p.. Gravure dépliante en frontispice, 6 gravures hors-texte, une carte dépliante en fin de volume, notes en bas de pages. Reliure d'époque, pleine basane verte, dos lisse avec filets et titre dorés, petite usure aux coins, des rousseurs.‎

‎ Bon état. ************* Remise 20 % pour toute commande supérieure à 100 €, envoi gratuit en courrier suivi et assurance à partir de 30 € d'achat (France seulement).‎

‎L'Evolution des structures spatiales à travers l'oeuvre de Stéphane du Château (2 volumes)‎

‎Université Paris I Panthéon-Sorbonne Dos carré collé 1993 Deux volumes in-4 (21 x 29,7 cm), dos carré collé, 426 et 222 pages, document tapuscrit, thèse universitaire ; rousseurs aux tranches supérieures, coins des plats recourbés, assez bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎

‎Charles Schneider French art deco glass‎

‎, Tiny Esveld, 2015 Hardcover, 23 cm x 29 cm, 288 pages, with 500 photographs in color. fine copy !. ISBN 9789081577663.‎

‎reference book !! In 1913 the two brothers had saved enough to buy their own glassfactory, together with a friend, Henri Wolf. This factory was located in Epinay-sur-Seine near Paris. 1913 was not a good year to start a business. In 1914 the first world war broke out and till 1918, the brothers did not really start to make art glass. In 1918 they needed money to relight their furnaces and they accepted the help from an English investor. At that moment they were no longer in control of their glassworks. The investor wanted profit and in 1923 it led to a rupture. The Schneider brothers scraped every bit of money that they could find to buy their factory back. Luckily they succeeded. From then on the success came. In 1924 the Schneider glassworks build the biggest concrete hall ever with the most modern furnaces. In 1926 they are the biggest glassfactory in France with almost 500 employees. In 1925 Charles was asked to be a member of the jury at the Exposition des Art Decoratifs in Paris. This meant that his work could not enter the exposition and would not compete with the work of the other artists. It was an honour to be a member of the jury, so he accepted, but maybe it had been better if he had declined for the honour and participated as an artist. He would have swept the competition away. His coupe bijoux and the big black footed bowls in contrasting colours were an enormous success all over the world. Most of their production went to North and South America. The glass of Charles Schneider has such joyfull colours, bright and happy colours like orange and yellow. It looks like the sun shines every day. The little bijoux vases are jewels of technique and shape and colour. The ?Le verre Francais? line had a great success with the stylized flowers in stunning colours. As the majority of the le verre francais glass , was only etched one time, the producing costs were low. The general public loved these bright vases. The success of the Schneider factory continued until 1929. In 1929 the banks on Wall street crashed and rich people lost a lot or all of their money. The market for luxury goods collapsed. Schneider tried to survive by cutting down costs, but this does not help when there are no buyers left. After a struggle of a three years the furnace extinguised in 1932. The factory filed for bankruptcy in 1938. Charles Schneider died in 1953 before the revival of his glass. In the eighties his glass was rediscovered. It has its place now among Galle and Daum glass as their equivalent. ‎