‎L'ancien art Bulgare‎

‎1 vol. in-4 reliure postérieure demi-basane marron, couvertures conservées, Librairie Académique ci-devant Max Drechsel, Paul Haupt, Berne, 1919, 88 pp. et LVIII planches hors texte (dont 10 planches en couleurs)‎

13 Images

‎Bon exemplaire bien relié (petite restauration au faux-titre, très bon état par ailleurs).‎

‎Villas‎

‎Actes Sud, coll. « 400 » 2008 In-12 broché 18, 5 cm sur 12,5. Non paginé. Très bon état d’occasion.‎

‎ Très bon état d’occasion ‎

‎Die Schule des Bauschlossers. Praktisches Hand- und Hülfsbuch für Architecten und Bauhandwerker, sowie für Bau- und Gewerbeschulen. 1. u. 2. Theil in 1 Bd. ‘Schule der Baukunst’ Bd. 3. ‎

‎Leipzig, Spamer, 1859, in-8vo, 3 Bl. Werbung + VIII + 252 S. mit 300 Holzschnitt Abb..; VIII + 232 S. mit 252 Holzschnitt Abb., nach Zeichnungen des Verfassers, stockfleckig, Stempel auf Titelbl., Original-Leinenband. ‎

‎Schule der Baukunst III. Band in 3 Abtheilungen: 1) Die Schule - des Bautischlers / 2) -des Bauschlossers. Teil 3) - des Tischlers, Stukkateurs und Stubenmalers ist nicht beigebunden ‎

‎Forteresses de la France Médiévale – Construction –Attaque - Défense‎

‎Picard 1967 in8 carré. 1967. broché. 492 pages. photos et graphiques in -texte Bon Etat intérieur propre qq traces sur la couverture‎

‎L' Hôtel de Vauluisant ou de Mesgrigny à Troyes.‎

‎Troyes, Dufour-Bouquot, 1864 in-8, 19 pp., broché. ‎

‎ - - VENTE PAR CORRESPONDANCE UNIQUEMENT‎

‎Part IV (1) The Holy Trinity, The Life of the Virgin, Madonnas, and The Holy Family. The Holy Trinity and The Life of the Virgin‎

‎, Brepols - Harvey Miller, 2024 Hardback, 2 vols, 660 pages, Size:175 x 260 mm, Illustrations:256 b/w, 142 col., Language: English. ISBN 9781915487421.‎

‎Summary Whereas other volumes in the Corpus Rubenianum series address a single topic, Part IV (The Holy Trinity, The Life of the Virgin, Madonnas and The Holy Family) deals with very distinct topics, two of which, The Trinity and The Life of the Virgin, form the subject of the present book. More precisely, the book deals with the Virgin's pre-Annunciation life, as those episodes involving her son - the Annunciation itself, Mary's suffering during Christ's passion, her assumption, and coronation - have been treated in the parts of the Corpus that deal with Christ's life. The focus here is on Mary's birth, upbringing and marriage, events described in varying detail in Early Christian and medieval texts. Not all the works discussed are by Rubens himself, but all show his artistic ingenuity, evident in his novel treatment of well-known subjects, often with a long visual tradition, as well as in his ability to devise new ones. Also catalogued here are such important altarpieces as The Immaculate Conception once owned by Philip IV of Spain and the magnificent Virgin as the Woman of the Apocalypse. The very different theme of The Holy Trinity comprises just four entries, which, however, constitute half the volume. During the occupation of Mantua by Napoleonic troops, the three enormous paintings which Duke Vincenzo I Gonzaga had commissioned from Rubens were removed from the Church of Santissima Trinit . The Transfiguration and The Baptism of Christ, both prime examples of the Trinity's manifestation on earth, have survived intact. The Gonzaga Family in Adoration of The Trinity was, by contrast, cut into fragments. The large central section with the portraits of Vincenzo, his wife and parents looking up at the angels displaying a tapestry with the Trinity was, however, rescued for Mantua. Other fragments, primarily with portraits of the children and halberdiers, were dispersed, though some have since resurfaced. The analysis of this commission offers the first comprehensive treatment of the material in English and highlights this project as the earliest indication of Rubens's creative potential in designing large-scale decorative programmes. TABLE OF CONTENTS VOLUME ONE Preface Acknowledgements Introduction Catalogue Raisonn VOLUME TWO Appendices List of Figures Figures Bibliography Indexes Sources of Photographs‎

‎ The Holy Trinity, The Life of the Virgin, Madonnas, and The Holy Family Part IV (1) - 2 VOLS. The Holy Trinity and The Life of the Virgin‎

‎, Brepols - Harvey Miller, 2024 Hardcovers with dusjackets; 2 vols, Pages:660 pages, Size:175 x 260 mm, Illustrations:256 b/w, 142 col. Language(s):English. FINE.‎

‎The book deals with the Virgin's pre-Annunciation life, as those episodes involving her son the Annunciation itself, Mary's suffering during Christ's passion, her assumption, and coronationWhereas other volumes in the Corpus Rubenianum series address a single topic, Part IV (The Holy Trinity, The Life of the Virgin, Madonnas and The Holy Family) deals with very distinct topics, two of which, The Trinity and The Life of the Virgin, form the subject of the present book. More precisely, the book deals with the Virgin's pre-Annunciation life, as those episodes involving her son ? the Annunciation itself, Mary's suffering during Christ's passion, her assumption, and coronation ? have been treated in the parts of the Corpus that deal with Christ's life. The focus here is on Mary's birth, upbringing and marriage, events described in varying detail in Early Christian and medieval texts. Not all the works discussed are by Rubens himself, but all show his artistic ingenuity, evident in his novel treatment of well-known subjects, often with a long visual tradition, as well as in his ability to devise new ones. Also catalogued here are such important altarpieces as The Immaculate Conception once owned by Philip IV of Spain and the magnificent Virgin as the Woman of the Apocalypse. The very different theme of The Holy Trinity comprises just four entries, which, however, constitute half the volume. During the occupation of Mantua by Napoleonic troops, the three enormous paintings which Duke Vincenzo I Gonzaga had commissioned from Rubens were removed from the Church of Santissima Trinit . The Transfiguration and The Baptism of Christ, both prime examples of the Trinity's manifestation on earth, have survived intact. The Gonzaga Family in Adoration of The Trinity was, by contrast, cut into fragments. The large central section with the portraits of Vincenzo, his wife and parents looking up at the angels displaying a tapestry with the Trinity was, however, rescued for Mantua. Other fragments, primarily with portraits of the children and halberdiers, were dispersed, though some have since resurfaced. The analysis of this commission offers the first comprehensive treatment of the material in English and highlights this project as the earliest indication of Rubens's creative potential in designing large-scale decorative programmes.‎

‎Brouage ville royale‎

‎Patrimoines & Médias 2096 16x23. 2096. livret broché. 48 pages. Bon Etat intérieur propre‎

‎De Romaansche kerkelijke bouwkunst in West-Vlaanderen‎

‎s.l., 1940 389pp.rijkelijk geïllustreerd in zw/w, gesigneerd met opdracht door auteur, 24cm., gebroch., goede staat, B85240‎

‎De Romaansche kerkelijke bouwkunst in West-Vlaanderen‎

‎s.l., 1940 389pp. rijkelijk geïllustreerd in zw/w, 24cm., gebroch., goede staat, B101613‎

‎Landschaft mit Strasse im Vordergrund und Häusergruppe im Hintergrund.‎

‎Signierte Lithographie auf festem Papier. Blattgrösse: 39,5 x 29,4 cm.‎

‎3 Fische.‎

‎Bildausschnitt: 23 x 36 cm. 1946. Lithographie von Hans Fischer (fis).‎

‎Scheidegger 75. - Unten vom Künstler mit Bleistift nummeriert und signiert: 7/200. - Leicht stockfleckig und knitterfaltig.‎

‎Cellist mit Kontrabassist.‎

‎Blattgrösse: 20 x 14,5 cm. Tuschzeichnung von Hans Fischer (fis).‎

‎Unten rechts mit Nachlassstempel. - Gerahmt.‎

‎Clown-Studie. Tuschzeichnung.‎

‎Um 1940. Bildausschnitt: 18 x 14 cm.‎

‎Clowns. Tuschzeichnung.‎

‎Um 1945. Bildausschnitt: 20,5 x 32 cm.‎

‎Verblasst mit Mittelfalz. – Gerahmt.‎

‎Concours hippique.‎

‎Bildausschnitt: 19,5 x 28 cm. Um 1940. Tuschzeichnung auf Pergamin von Hans Fischer (fis).‎

‎Unten vom Künstler mit Bleistift beschriftet: "Aigle: Concours hippique oder Lugano: querfeldein ..." und oben links mit Tusche signiert.‎

‎Cortège des masques.‎

‎Blattgrösse: 34 x 54 cm. 1951. Radierung von Hans Fischer (fis).‎

‎Scheidegger 153. - Unten links mit Bleistift beschriftet: "état d'épreuve", in der Mitte: "Cortège des Masques" und unten rechts signiert und datiert. - Mit Lichtrand. - Gerahmt.‎

‎Cortège des masques.‎

‎(1951) Radierung von Hans Fischer (fis). Blattgrösse: 34 x 54 cm. Scheidegger 153. - Unten links mit Bleistift beschriftet: "état d'épreuve", in der Mitte: "Cortège des Masques" und unten rechts signiert und datiert. - Mit Lichtrand.‎

‎Curlingspieler.‎

‎Blattgrösse: 27 x 21 cm. Um 1940. Tuschzeichnung auf Pergamin von Hans Fischer (fis).‎

‎Rechts signiert.‎

‎Das Lumpengesindel. Lithographie‎

‎1943 Biildausschnitt: 32 x 21,5 cm.‎

‎Nicht bei Scheidegger. – Vermutlich gleichzeitig 1943 mit den andern Märchenbildern entstanden. Mit Nachlassstempel.‎

‎Das Orchester. - Musikmann‎

‎Bildausschnitt: 35 x 25 cm. Um 1948. Tuschzeichnung auf Pergamin von Hans Fischer (fis).‎

‎Originalzeichnung zu Scheidegger 121. - Mit Tusche signiert.‎

‎Der gestiefelte Kater. 2 farb. Lithographien (beidseitig bedruckt).‎

‎1957. Blattgrösse: 57 x 45 cm.‎

‎Scheidegger S. 311, 29 und 30 sowie S. 310, 28.‎

‎Der gestiefelte Kater. Dreifarbige Kreidelithographie auf Vélin Rive.‎

‎1957. Bildausschnitt: 30 x 43,5 cm.‎

‎Scheidegger 331 (mit etwas abweichendem Format). – Mit Signetstempel.‎

‎Der gestiefelte Kater. Dreifarbige Kreidelithographie.‎

‎1957. Bildausschnitt (Passermarken): 27,5 x 42 cm.‎

‎Scheidegger 331. - Vom Künstler unten mit Bleistift beschriftet «der gestiefelte Kater - Nachtfest und Zauberschloss» und signiert. - Leicht angestaubt und mit kleineren Randeinrissen.‎

‎Der gestiefelte Kater. Farb. Lithographie.‎

‎1957. Papiergrösse: 30 x 49,5 cm.‎

‎Scheidegger S. 307, Nr. 13 u. 14. - Zwei Buchseiten mit Text, handschriftlich bezeichnet «Andruck» und vom Künstler mit Bleistift signiert.‎