‎Painting Architecture in Early Renaissance Italy. Innovation and Persuasion at the Intersection of Artistic and Architectural Practice‎

‎, Brepols - Harvey Miller, 2024 Hardback, approx. 220 pages, Size:220 x 280 mm, Illustrations:3 b/w, 138 col., Language: English. ISBN 9781915487032.‎

‎Summary Why did artists include prominent architectural settings in their narrative paintings? Why did they labour over specific, highly innovative structural solutions? Why did they endeavour to design original ornamental motifs which brought together sculptural, painterly and architectural approaches, as well as showcasing their understanding of materiality? Painting Architecture in Early Renaissance Italy addresses these questions in order to shed light on the early exchanges between artistic and architectural practice in Italy, arguing that architecture in painting provided a unique platform for architectural experimentation. Rather than interpreting architectural settings as purely spatial devices and as lesser counterparts of their built cognates, this book emphasises their intrinsic value as designs as well as communicative tools, contending that the architectural imagination of artists was instrumental in redefining the status of architectural forms as a kind of cultural currency. Exploring the nexus between innovation and persuasion, Livia Lupi highlights an early form of little-discussed paragone between painting and architecture which relied on a shared understanding of architectural invention as a symbol of prestige. This approach offers a precious insight into how architectural forms were perceived and deployed, be they two or three-dimensional, at the same time clarifying the intersection of architecture and the figural arts in the work of later, influential figures like Giuliano da Sangallo, Raphael, Michelangelo and Baldassarre Peruzzi, whose work would not have been possible without the architectural experimentation of early fifteenth-century artists. TABLE OF CONTENTS INTRODUCTION The Architectural Imagination of Artists Pictorial Space and Architecture in Painting Visual Rhetoric The Case Studies All'antica Innovation and Paragone 1 A NEW ARCHITECTURAL CONSCIOUSNESS MASOLINO DA PANICALE AT CASTIGLIONE OLONA Masolino and Architecture Architecture as Cultural Currency Architecture, Nature and Encomiastic Ekphrasis 2 PERFORMING MAGNIFICENCE THE PELLEGRINAIO AT SANTA MARIA DELLA SCALA IN SIENA Ornament and Structure Architectural Portrait and Ex Novo Reinvention Building the Community The Pellegrinaio as a Stage 3 BUILDING LEGITIMACY FRA ANGELICO'S NICHOLAS V CHAPEL IN THE VATICAN PALACE Fra Angelico and Architecture Crafting Time and Place through Architecture Dignity and Authority Roman Echoes CONCLUSION Craftsmanship and Patronage Innovation and Self-promotion Disegno and Paragone Architectural Forms as Persuasion Appendix‎

‎Interaction of Art and Relics in Late Medieval and Early Modern Art‎

‎, Brepols, 2020 Hardback, iv + 185 pages, Size:216 x 280 mm, Illustrations:51 col., Language: English. ISBN 9782503583983.‎

‎Summary The collection of essays gathered in this volume investigates the interaction between art and relics as a distinct historical relevance for devotional art of Early Modernity and the Renaissance. Recent studies in the material culture of artifacts from these periods have drawn increasing attention to a sense of material tangibility derived from relics. Putting that conclusion into perspective, this edited collection focuses on the aesthetic meaning generated by a specific material culture of sanctity - one in which artists based their practice upon the nature, variety, and history of relics. Works of art that contained relics shared in the aura of the relics, defining themselves as non-substitutable signs, or signs that preserved the physical relationship to the immutable nature and origin of relics. As studied in this volume, funerary monuments, chapel decorations, altarpieces, liturgical objects, and sacred sites yielded an unordinary aesthetic meaning, one that captured and at the same time transmitted the histories linked to a relic. Each chapter emphasizes the specific history contained within works of art premised upon relics and thus forever embedded in the relics' status as sacred originals.. TABLE OF CONTENTS I. Relics in the Art, Decoration, and Architectural Memory of Early Modern Chapels Kristina Keogh, Authenticating the Holy Body: Transitions between Relic and Image in the Early Modern Cults of Caterina de' Vigri and Maria Maddalena de' Pazzi Cloe Cavero de Carondelet, Reframing a Medieval Miracle in Early Modern Spain: The Origins of Our Lady del Sagrario of Toledo Alison Fleming, Art and the Relics of St. Francis Xavier in Dialogue II. Relics Integral to Sacred Spaces and Works of Art Sarah Cadagin, The Interrelation of Curtains, Altarpieces, Relics: Domenico Ghirlandaio's Response to the Cult of the Volto Santo in Lucca Cathedral Suzanna Simor, Relics and the Visualization of the Christian Creed Livia Stoenescu, The Place of Relics in Loca Sancta, Medieval Combinations, and the Catholic Reform III. Artists Engaging with Relics J r mie Koering, Michelangelo's Relics: Some Aspects of Artistic Devotion in Cinquecento Italy Sarah Dillon, The Duality of Glass: Revealing and Concealing Holy Relics in Early Modern Italy‎

‎Figured Bass Accompaniment in Europe‎

‎, Brepols, 2024 Hardback, xiv + 424 pages, Size:210 x 270 mm, Illustrations:43 b/w, 12 tables b/w., 75 musical examples, Language(s):English, Italian. ISBN 9782503608518.‎

‎Sixteen internationally-renowned scholars map the figured bass accompaniment in Europe through a wide timespan: from the early-seventeenth-century Germany to late continuo realisations by Johannes Brahms and Robert Franz. Summary At the very end of his new and charming chapter included in this volume, Thomas Christensen sensuously claims that for each generation, figured bass has something new to say, though it rarely gives up its secrets without a fight. This book, therefore, attempts to do justice to the fight lead by sixteen internationally-renowned scholars who ventured mapping the figured bass accompaniment in Europe through a wide timespan: from the early-seventeenth-century Germany to late continuo realisations by Johannes Brahms and Robert Franz. The volume also addresses several issues such as different ways to sketch and write extensively the instrumental accompaniment, its rendition into practice and how to teach and apply formulas for improvising (and realising) a contrapuntal texture over the bass. For the first time, counterpoint, basso continuo and partimento are put into dialogue, overcoming terminological antinomies and underlining the points of continuity amongst different accompaniment practices in France, Germany, England and Spain for over three centuries. Case studies shed some lights on accompaniment of specific instruments such as cello and guitar. TABLE OF CONTENTS Figured Bass Accompaniment in Europe Livio Ticli (ed.), 2023 Livio Ticli, Introduction: Figured Bass in the European Tradition: Continuities and Changes of a Practice Through Alps and Pyrenees To the Sea: Continuity and Discontinuity in Performance Practice 1. David Chung, The Significance of the Preludes with Figured Bass in F-Pn Vm8 1139 for Keyboard Pedagogy in Early Eighteenth-Century France 2. Clotilde Verwaerde, The Three-voice Texture in Eighteenth-Century French Continuo 3. Marie Demeilliez, The Encyclop die ou Dictionnaire raisonn des sciences, des arts et des m tiers (1751-1772): A Source for Basso Continuo Accompaniment in Eighteenth-Century France 4. Isaac Alonso de Molina, Acompa amientos con las llamadas del Baxo y lo que se puede tocar sobre cada uno de ellos : partimenti diminuiti in Manuscript M/1188 of the Biblioteca Nacional de Espa a (Madrid) 5. Michael Fuerst, Hieronymus Praetorius, Multiple-Bass Notation in Organ Parts, and Continuo Performance Practices of Polychoral Music in the Hanseatic Cities of Northern Europe Connected by Strings: Cello Accompaniment Performance Practice 6. John Lutterman, Partimento, German Thoroughbass Practice, and Improvised Solo Performance on the Cello 7. Hilary Metzger, National Styles in Lower String Accompaniment of Secco Recitative in the Late 18th and Early 19th Centuries From the Page to the Performance through Space and Time 8. Valeria Mannoia, Per ogni tradizione il suo basso. I bassi seguenti italiani in alcune antologie tedesche del Seicento 9. Francesca Mignogna, Il basso continuo nelle composizioni per i defunti di Pierre-Louis Pollio (1724-1796). Uso, notazione e problematiche relative all?edizione moderna della partitura 10. Anthony Abouhamad, The Principles of Partitura Playing: An Introduction to Basso Continuo Instruction and Practice in Eighteenth-Century Salzburg 11. Martin Ennis, Quod licet Bacho non licet Francisco : A New Perspective on the Continuo Realisations of Johannes Brahms and Robert Franz Basso Continuo and Partimento as a Pedagogical Tool Then and Now 12. Thomas Christensen, Figured Bass: Then and Now 13. Stephan Lewandowski, With regard to the Now Prevailing Taste in Music : The Music Theoretical Work of Johann Gottfried Vierling (1750-1813) 14. Matthew Mazanek, Improvisation Pedagogy in Nineteenth-Century Guitar Education 15. Justin Ratel, Repurpose and Transformation of an Educational Material: Figured Bass as a School Practice in the Early Years of the Paris Conservatory 16. Thomas Allery, Thorough Bass Made Easy: The Pedagogical Value of Figured Bass in Musical Education Today 17. Livio Ticli, Basso Continuo as a Concertato Practice: Vocal-Instrumental Improvisation, Ornamentation and Counterpoint‎

‎L'école d'architecture de Nancy‎

‎Editions Jean-Michel Place 2013 180 pages 2013. Broché. 180 pages.‎

‎Très bon état - légères marques de lecture et/ou de stockage mais du reste en très bon état- expédié soigneusement depuis la France‎

‎Intérieurs rustiques. ‎

‎Paris, Charles Moreau, Éditeur d'Art, s.d. (vers 1920) ; in-folio (327 x 444 mm), 4 pp. + 32 planches, en planches, sous porte-folio demi-percaline imprimé à lacets (dos déchiré et manquant). Suite de photographies en noir et blanc, sur le mobilier rustique de France. État moyen.‎

‎Le nouveau conducteur de l'étranger à Paris en 1842. ‎

‎Paris, J. Moronval, Imprimeur-Libraire-Éditeur, 1842 ; in-18, 8-352-48 pp. + 24 pl. hors-texte, reliure demi-toile grise, dos lisse et muet, tranches jaspées. 23ème édition, avec la description des nouveaux édifices et des rues nouvelles, par E. Hocquart. Ouvrage précédé d'une instruction aux étrangers sur la manière d'y suivre leurs affaires, suivi de la description des environs de Paris et du Dictionnaire de ses rues, places, quais, ponts, passages, impasses, marchés, &c., avant que le baron Haussmann ne perce la ville, par de nouvelles artères. Illustré de 24 gravures en taille-douce (manque le plan de Paris). Bon état.‎

‎Nouveau Roubo. L'art de la menuiserie, avec la collaboration d'architectes, d'entrepreneurs de menuiserie, chefs d'ateliers, professeurs de trait et de dessin de menuiserie et le concours des principales écoles professionnelles de France. ‎

‎Paris, H. Vial, Éditeur, s.d. (vers 1900) ; in-folio (322 x 420 mm), 122 pl. (134 avec les planches bis et ter), en planches, sous porte-folio demi-percaline imprimé à lacets (dos déchiré). Nouvelle édition revue, corrigée et augmentée, avec la collaboration d'architectes, d'entrepreneurs de menuiserie, chefs d'ateliers, professeurs du trait et de dessin de menuiserie, etc. Recueil complet de planches de charpente et de menuiserie. État moyen.‎

‎Harmony in Bright Colours : Memling's God the Father with Singing and Music-Making Angels Restored‎

‎, Brepols N.V. 2021, 2021 Hardcover, English, 300 x 240 mm, 287 p., incl. Music CD, 30 b/w ills, 220 col. ills, . ISBN 9782503580289.‎

‎Hans Memling's God the Father with Singing and Music-making Angels formed the upper register of an enormous polyptych painted for the Benedictine monastery of Santa Maria la Real in Najera, Spain. The three large panel paintings are undoubtedly among the most monumental works of early Netherlandish painting. Since 1895 they have belonged to the collection of the Royal Museum of Fine Arts Antwerp (KMSKA), where a team of conservators and scholars have devoted themselves in recent years to their complex conservation. To mark the completion of this project, the KMSKA organized a symposium in March 2017 in cooperation with the University of Antwerp. This latest volume in the Me Fecit series publishes the contributions presented on that occasion. Their wide-ranging themes include the commissioning and iconography of the panels, their acquisition by the museum, the depicted vestments and what the work has to tell us about fifteenth-century musical practice. Close attention is paid to technical aspects such as the materials and the painting technique used for the panels, Memling's underdrawing, the frames, and the conservation treatment - not least the oxalate-containing layer that posed the greatest challenge. There is a musical aspect to the project too: precise replicas have been made of the depicted instruments, which were then used to perform fifteenth-century compositions with playing techniques inferred from the paintings. The book features contributions by Maryan Ainsworth, Wim Becu, Till-Holger Borchert, Bart Fransen, Ingrid Goddeeris, Catherine Higgitt, Lizet Klaassen, Louise Longneaux, Karel Moens, Lisa Monnas, Keith Polk, Marie Postec, Marika Spring and Geert Van der Snickt.‎

‎NOTES SUR LA CATHEDRALE D'ANGOULÊME AVEC APPROBATION DE L'ORDINAIRE.‎

‎IMPR. DE LA BONNE PRESSE DU MIDI. 1924. In-8. Broché. Etat d'usage, Couv. partiel. décollorée, Dos frotté, Intérieur frais. 31 pages. Quelques illustrations en noir et blanc dans et hors texte.. . . . Classification Dewey : 720-Architecture‎

‎Préface par Votre Curé A.J. Brun. Classification Dewey : 720-Architecture‎

‎Belgrade Residential and Villa Architecture 1830-2000‎

‎Belgrade, Karic Fondation, 2002, in-4, relié, jaquette éditeur., 397 pages. Très bon état. ‎

4 Images

‎ NB : LES QUESTIONS ET COMMANDES SONT TRAITEES DANS LES 48H, LES ENVOIS REPRENDRONT À PARTIR DU 4 DECEMBRE, MERCI.‎

‎Embracing Brussels, Art and Culture in the Court City, 1600-1800. Brussel. ‎

‎, Brepols Publishers, 2013 Paperback, 280 pages., 120 b/w ill., CD, 210 x 297 mm, Languages: English. ISBN 9782503542287.‎

‎It would appear that Flemish Baroque has come to be regarded as synonymous with Antwerp Baroque. The aim of this publication on art and art production in Brussels in the period 1600?1800 is to reconsider the art-historical position of Brussels as a major hub of activity and place of residence for courtiers and artists alike. Attention will focus on matters as diverse as literature, music, housing, and the guild system, besides which aspects of the art trade, style differentiation and case studies relating to individual artists will be discussed. In the seventeenth and early eighteenth centuries, the Habsburg Court was viewed as the supreme creative centre, where systems of symbols were forged and propagated that were designed to display both the artist?s craftsmanship and the ruler?s piety. I. The Context of The City, Veerle De Laet, At home in seventeenth-century Brussels. Patterns of art and luxury consumption, Harald Deceulaer, Fashion, innovation and regional distribution. The clothing trades in Brussels, sixteenth?eighteenth centuries, Karel Porteman, A few literary-historical vedute of seventeenth-century Brussels, Maartje De Wilde, De lokroep van de nachtegaal: wereldlijke liedboeken uit het zeventiende-eeuwse Brussel. II. Art Production ‎

‎NAPLES . Histoire, monuments, beaux arts, littérature. Orné de 22 gravures.‎

‎ Lille, Lefort , 1888 , in4° percaline rouge éditeur , plat et dos orné de motifs dorés, tranches dorées, XV - 286pp. 22 gravures sur bois à pleine page.Un nom inscrit discrètement sur la couverture . ‎

‎Encyclopédie Illustrés d'Architecture‎

‎Livre d'Or / Flammarion. 1964. In-Folio. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 352 pages augmentées de nombreuses photos et illustrations en noir et blanc et couleurs dans et hors texte. Jaquette en bon état. Contre-plats illustrés. Frontispice en couleurs.. Avec Jaquette. . . Classification Dewey : 720-Architecture‎

‎Préface de Guillaume Gillet. Classification Dewey : 720-Architecture‎

‎Antichi orologi. A cura di Dino Pavolini.‎

‎Firenze, G.C. Sansoni, 1969. 8°. 172 (6) p. Orig. cloth with dust jacket (dust jacket few browned, with an initial tearing).‎

‎Architecture Des Origines ‎

‎Editions Gallimard / Electa, 1993 coll. Histoire de l'architecture - Grand in-8 carré broché (24 x 22 cm), abondante iconographie en noir et en couleurs, 194 pages.-800g.L. - Très bon état.‎

‎A HISTORY OF THE ENGLISH HOUSE ,from the primitive times to the victorian period ‎

‎London The Architectural Press 1951 petit in folio (32x23) 1 volume reliure toilée toile verte de l'éditeur, VII [1] 487 pages, avec 888 illustrations en noir dans le texte. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Reliure ‎

‎SAN FRANCISCO HOUSES. AFTER THE FIRE.‎

‎Ellipsis, Könemann, Architecture in Context, 1997, in-folio softcover, 79 pp, illustrations. In english-french & german. Cover in good condition, inside very good.‎

‎VIENNA. OBJECTS AND RITUALS.‎

‎Ellipsis, Könemann, Architecture in Context, 1997, in-folio softcover, 79 pp, illustrations. In english-french & german. Cover in good condition, inside very good.‎

‎HOCKNEY PRINTMAKER ‎

‎LONDON, SCALA ARTS & HERITAGE PUBLISHERS LTD, 2014 Softcover, 160 pages, 28 x 24 cm, english text. *good condition. ISBN 9781857598933.‎

‎HOCKNEY PRINTMAKER In 1954, a sixteen-year-old student at the Bradford College of Art opted to study lithography as part of the National Diploma in Design. His first effort, a small self-portrait printed only in a handful of impressions, marks the beginning of one of the longest and most diverse careers in modern printmaking. By turns traditional and groundbreaking, over six decades David Hockney has created graphic works of great wit, beauty and intellectual complexity. Hockney, Printmaker features over 150 works, from etchings executed at the Royal College of Art in the 1960s, to experiments with printed computer drawings some fifty years later, via portraits, pools, poetry, Xeroxes and investigations into multi-point perspective. Written by Richard Lloyd, head of prints at Christies, with contributions from Hockney's friends and associates, it explores the many achievements of Britain's greatest living practitioner of the graphic arts.‎

‎Architecture des origines.‎

‎ Gallimard / Electa, "Histoire de l'architecture" 1993 1 vol. broché in-4 carré, broché, couverture illustrée, 194 pp., nombreuses reproductions en couleurs. Très bonne condition.‎

‎"Architecture de l'antiquité - Proche et moyen-orient, Egypte, Crète et Grèce (Collection ""Histoire mondiale de l'architecture"")"‎

‎Berger-Levrault. 1980. In-4. Relié toilé. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 411 pages. Nombreuses photos et illustrations en noir et blanc, dans et hors texte. Couverture légèrement désolidarisée.. . . . Classification Dewey : 720-Architecture‎

‎"Collection ""Histoire mondiale de l'architecture"". Classification Dewey : 720-Architecture"‎

‎Architektur der Frühen Hochkulturen. Vorderasien. Ägypten. Griechenland. ‎

‎Stuttgart, Belser, Mailand, Electa Editrice, 1975, in-4to, 411 S., reich s./w. ill., Original-Leinenband. OU.‎

‎Architektur der Frühen Hochkulturen. Vorderasien. Ägypten. Griechenland. Vorwort Pier Luige Nervi.‎

‎Verlag Kunstkreis, 1975, in-4to, 411 S., reich s./w. ill., Original-Leinenband. OU. (kl. Randrisse im Umsclhag ohne Verlust).‎