‎Pucci of Florence: Patronage and Politics in Renaissance Italy‎

‎, Brepols - Harvey Miller, 2020 Hardback, iv + 359 pages, Size:220 x 280 mm, Illustrations:296 col., Languages: English, Italian. ISBN 9781912554256.‎

‎Summary Shrewd and ruthless, the Pucci were Medici loyalists whose political and cultural alignment with the most powerful family in Renaissance Florence was rewarded with wealth and influence. The Pucci's martial support for the Medici in the dangerous business of ruling Tuscany drove their transformation from a clan of minor guildsmen to a noble dynasty with three cardinals to its name. Over the next two centuries, they showcased their exalted status with art and architecture that mirrored Medici tastes and reflected the values of civic humanism. The political and religious turmoil of the High Renaissance is writ large in this vivid portrait of the Pucci cardinals and their artistic patronage, a cultural biography inflected by the expulsion of the Medici from Florence, the Sack of Rome, the Reformation, and the occupation of Italy by Emperor Charles V. New archival evidence documents the chapels, palaces, and villas that were built, expanded, and decorated by the Pucci family in Rome, Tuscany, and Umbria. These celebrated projects were carried out by luminaries of Renaissance art and architecture: Michelozzo, the Pollaiuolo brothers, the Sangallo family, Baccio d'Agnolo, the Montelupo workshop, and others. A remarkable body of inventories reveals how the family's trials and tribulations shaped the fate of their estates and illustrates the role luxury goods played in the social ambitions of this newly-arrived family. A previously unknown catalogue of Palazzo Pucci tells the tale of the nineteenth-century dispersal of the family's priceless Renaissance artworks, a collection that once mirrored the splendor of the Medici court. TABLE OF CONTENTS Acknowledgements Abbreviations A note on Money and Currencies A note on Weights and Measures A note on Dates A note on Spelling Archival Sources Used in this Study Family Tree Introduction: 'Beneath the Shadow of Thy Wings I Sleep' I. From the Beginning: Medici Loyalists II. The Pucci Oratory in Santissima Annunziata III. Antonio Pucci: Dynastic Promotion and Image-Building IV. Casa Pucci in Florence (1503-1537): Fashioning Social Hierarchies V. Cardinal Lorenzo Pucci in the Eternal City VI. Cardinal Antonio Pucci: A Scholarly Diplomat VII. Roberto Pucci (1531-1547): It's All in the Family VIII. Reframing Ambition, Wealth, and Dishonor (1547-1612) Epilogue (1612-1913)‎

‎Architecture populaire de l’ardèche‎

‎Editions Curandera, coll. « Les Ethnologiques » 1984 In-8 broché 24 cm sur 16. 149 pages. Nombreuses illustrations en noir et blanc. Couverture légèrement défraîchie, sans gravité. Intérieur frais. Bon état d’occasion.‎

‎ Bon état d’occasion ‎

‎Architecture populaire de l'Ardèche.‎

‎ Editions Curandera, les Ethnologiques, 1984, 149 p., broché, coins des plats légèrement cornés, bon état pour le reste.‎

‎ Merci de nous contacter à l'avance si vous souhaitez consulter une référence au sein de notre librairie.‎

‎La maison rurale du Vivarais - Essai pour une mise en valeur d'un habitat traditionnel ‎

‎Eclassan (07), chez l'auteur, 1975, in-4 br. (21 x 29,5), 51 p., 1ère édition tirée à 2500 exemplaires, une carte, 118 dessins de l'auteur, bon état. ‎

5 Images

‎L'un des premiers ouvrages de Michel Carlat spécialiste éminent de l'histoire et de l'architecture rurales du Vivarais. L'auteur passe en revue l'architecture des maisons ardéchoises, par région naturelle (la Montagne, le Haut-Vivarais, les Boutières, le Coiron, le Bas-Vivarais, la Cévenne, le Rivage rhodanien). Il donne de précieux conseils d'entretien et de restauration en distinguant deux rubriques : "Ce qu'il faut faire", "Ce qu'il ne faut pas faire". Lexique du parler vivarois et glossaire des termes techniques employés. Voir le sommaire sur photos jointes. ‎

‎Scottish Portraiture 1644-1714. David and John Scougall and Their Contemporaries‎

‎, Brepols, 2021 Hardback, 2 vols, 756 pages, Size:225 x 300 mm, Illustrations:1265 col., Language: English. ISBN 9782503597270.‎

‎Summary This book is the first comprehensive publication on Scottish portraiture from the period 1644 to 1714, with an emphasis on the painters David Scougall (1625-1685), and his son John Scougall (1657-1737). It is based on in-depth art historical and archival research. As such, it is an important academic contribution to this thus far little-researched field. Virtually nothing was known about the Scougall portraitists, who also include the somewhat obscure George Scougall (active c. 1690-1737). Thorough archival research has provided substantial biographical information. It has yielded life dates and data on family relations and, also, it has become clear that David Scougall had two parallel careers, as a portrait painter and as a writer (solicitor). The legal community in which the Scougalls were embedded has been defined, as well as an extended group of sitters and their social, economic, and family networks. The book includes a catalogue raisonn of the oeuvre of David Scougall. The most important contemporaries of the Scougalls were the portraitist L. Sch neman (active c. 1655/60-1667 or slightly later), his successor James Carrudus (active c. 1668-1683 or later), whose work is identified for the first time in this book, David Paton (c. 1650-in or after 1708), Jacob Jacobsz. de Wet (1641/42-1697) and Sir John Baptist Medina (1659-1710). Their lives and work are discussed. An extensive survey of Scottish portraits, with an emphasis on the work of the Scougall painters, is presented for the period 1644 to 1714. Numerous attributions to various artists and sitter identifications have been established or revised. An overview of the next generation is provided, in which the oeuvres and biographical details are highlighted of the principal portrait painters, such as William Aikman (1682-1731), Richard Waitt (1684-1733) and John Alexander (1686-1767). Countless paintings have been photographed anew or for the first time, and have been compared in detail, which had hardly been done before, while information is also included on technical aspects and (original) frames. The resulting data have been complemented by analysing the social and (art-) historical context in which the portraits were made. The works of the portrait painters in Scotland from this period, as this book shows, now form a solid bridge between the portraits painted prior to George Jamesone's death in 1644, and those by the renowned Scottish painters of the eighteenth century. TABLE OF CONTENTS VOLUME I Abbreviations - Foreword - Acknowledgements Introduction Current State of Published Research on the Scougalls and Their Circle and the Appreciation of Their Work Through the Centuries The Elder Scougall/Old Scougall and the Younger Scougall Dates and Scarcity of Known Archival Material Artistic Context: Painting in Scotland, the Start of a Portrait Tradition, c. 1575-1660 David Scougall (Edinburgh, 1625-1685), His Life and Career Emerging from the Shadows Father and Son, John (d. after 13 October 1627) and David (1625-1685) Writer and Painter Family Patrons The Outset of a Career Father and Son, David (1625-1685) and John (1657-1737) The Advocate's Close The Profession of a Writer or Clerk in the Time of David Scougall The Profession of a Painter in the Time of David Scougall Possible Teachers and Family Creativity Decline and Death Skougall or Scougall Personal Network, Legal Community and Further Family Relations John Scougall (Edinburgh, 1657-1737), His Life and Career A Long and Prosperous Life Becoming a Limner Family Patrons Increased Prosperity Lack of Competition 1694: A Year of Important Changes Decline in Skill and Death David Scougall: The Oeuvre, Characteristics, Development and Sources of Inspiration The Outset of a Career Core Works, the Basis for a Compilation of the Oeuvre Associated Works Miniatures or Pocket Pictures Stylistic Features and Motifs Consistency in Style Late Works, 1675-1685 Technical Aspects of David Scougall's Paintings Technical Research and Painting Technique Painting Materials David Scougall as a Copyist Costumes and Jewellery Use of Motifs from Portraits by Other Painters No Inventor, but Painting Real People Production Studio Practice and Legal Community John Scougall: The Oeuvre, Characteristics, Development and Sources of Inspiration The Early Years Indisputable Works Associated Works Use of Motifs from Portraits by Other Painters Stylistic Features and Motifs Technical Aspects of John Scougall's Paintings Technical Research and Painting Technique John Scougall as a Copyist Production Mending and Washing Studio Practice and Apprentices George Scougall (b. 1670?, active c. 1690- c. 1737) Lack of Biographical Data In the Studio of John Scougall Inadequate Traces of Work Clients/Sitters Nobility and Clergy Clients and Religious Beliefs Loyal Patrons Bonding Portraits Competition from Abroad Ladies and Gentlemen Portraying Children Problems in Sitter Identification Known Sitter, but Problem in Period and Handling Portraits Telling the Truth? Scougall's Clients, Where Were They Based, and the Painter's Studio Backs and Frames The Back of the Painting Period Frames Prices for Portraits and Frames Prices for Portraits by David Scougall 1664-1683 Prices for Portraits by John Scougall 1674-1728 Prices for Frames The Contemporaries of the Scougalls John Michael Wright (1617-1694) L. Sch neman (active c. 1655/60-1667 or shorty after) James Carrudus (active 1671 or earlier-1683 or later) David Paton (c. 1650-in or after 1708) Thomas Murray (1663-1735) Jacob Jacobsz. de Wet (1641/42-1697) Portraits, Painters Unknown Painters, Portraits Unknown Sir John Baptist Medina (1659-1710) The Next Generation William Aikman (1682-1731) Richard Waitt (1684-1733) John Alexander (1686-1767) John Smibert (1688-1751) And Beyond Summary and Conclusion Appendices Appendix I The Scougall Family, Reconstruction of the Family Tree Appendix II Transcriptions of Various Archival Documents Concerning the Scougall Painters Appendix III The Mysterious Portrait of 'John Scougall' Appendix IV Transcription of the Memoir by Sir John Clerk of Penicuik, 1st Baronet (1649-1722) of His Wife Elizabeth Henderson, Lady Clerk (1658-1683) ? VOLUME II Catalogue Raisonn of the Paintings by David Scougall (1625-1685) Introduction Glossary Catalogue A Authentic Works Catalogue AW Works Known Only from Written Sources Catalogue B Copies by David Scougall After Works by Others Catalogue C Doubtful Works Catalogue D Works Known Only Through Copies and Prints Catalogue E Rejected Works Concordance Notes Bibliography Websites Guides to Houses and Other Venues Exhibitions Inserted Details Index‎

‎14-18 La Guerre en Images‎

‎, Mardaga - Hannibal Books, 2014 Couverture reliee, 239 pages, Illustrated. ISBN 9782804702359.‎

‎Carl De Keyzer pose un regard contemporain sur une centaine de photographies, pour la plupart in dites, datant de la Premi re Guerre mondiale. En compagnie de David Van Reybrouck, il a s lectionn des n gatifs sur plaques de verre glan s dans le monde entier. Des images fortes, surprenantes, qui montrent autre chose que les clich s de boue, de crat res de bombes et de cadavres de chevaux. Il les a num ris s et restaur s de fa on obtenir des tirages aussi fid les que possible. Le livre expose ainsi, en grand format - pour la premi re fois -, des photographies poignantes du front occidental, notamment des images aux couleurs tonnantes. Le r sultat impressionne par son actualit . Gr ce ces agrandissements, des d tails qui n' taient pas cens s tre r v l s apparaissent au grand jour. De son c t , David Van Reybrouck propose, dans un texte interpellant, sa lecture de ces photographies et de la Grande Guerre. Il invite comm morer 14-18 autrement et se r approprier ce conflit, loin de l'industrie du souvenir qui occulte les probl mes actuels. Il met ainsi en lumi re le d calage qui existe entre les c l brations de la Grande Guerre et de ses jeunes victimes tomb es au front, et le tabou qui p se aujourd'hui autour du ph nom ne - alarmant - du suicide chez les jeunes. Une invitation observer ces images, et les motions qu'elles suscitent, en regard de notre poque.‎

‎ALBUM 14-18, Carl De Keyzer / David Van Reybrouck‎

‎, Uitgeverij Hannibal, 2014 Hardcover.239 pages, Illustrated. Nederlandstalig. 30x333x248 mm ISBN 9789492081063.‎

‎Carl De Keyzer & David Van Reybrouck. Het fotoboek van de Eerste Wereldoorlog: Magnum fotograaf Carl De Keyzer selecteerde en bewerkte honderd originele glasplaten uit de Eerste Wereldoorlog uit diverse archieven in binnen- en buitenland. ‎

‎Moments Before the Flood. Carl De Keyzer, **LUXE edition + PHOTO / signed.‎

‎, , 2012 Hardcover in slipcase, + original Photo signed 1/40 copies.; 'forty copies of this edition have been signed by Carl De Keyzer and numberd 1/40. Each book is accompanied by an original copy of a photograph, wich bears the sam number as the book'. 320 mm x 320 mm, 250 illustrations colour. ISBN 9789401400251.‎

‎**LUXE edition + PHOTO / signed. Een visueel monument, dat op indringende wijze vastlegt hoe Europa omgaat met de dreiging van de klimaatopwarming. Vier jaar lang heeft Carl De Keyzer vier maanden per jaar de kusten van Europa afgereisd, van het hoge noorden tot het zuiden. Hij fotografeerde vervreemdende landschappen, desolate stranden, verlaten hotels, winterse pieren en dramatische wolkenpartijen: prachtige maar onheilspellende beelden met een hoog David Lynchgehalte. Moments before the Flood is bij uitstek een fotografie van het wachten. Carl De Keyzer portretteert de unheimlichkeit van het onbestemde en het onzekere, met een meesterlijk oog voor de schoonheid ervan en met een weergaloos gevoel voor ironie. --- A visual monument that poignantly records how Europe deals with the threat of global warming. For four years, Carl De Keyzer traveled the coasts of Europe for four months a year, from the far north to the south. He photographed alienating landscapes, desolate beaches, deserted hotels, wintry piers and dramatic clouds: beautiful but ominous images with a high David Lynch content. Moments before the Flood is pre-eminently a photography of waiting. Carl De Keyzer portrays the uncannyness of the indefinable and the uncertain, with a masterly eye for its beauty and an unparalleled sense of irony.‎

‎La Place du Carrousel de Carl de Vinck ( Table des Matières de cet ouvrage : Préface - Saint-Thomas-du-Louvre, Saint-Nicolas-du-Louvre, Saint-Louis-du-Louvre - Les Quinze-Vingts - L'hôtel de Schomberg - Le parterre de Henri IV - L'hôtel de Longueville - L'hôtel de Rambouillet - Le logis de Molière - l'hôtel Matignon - L'hôtel Varin - L'hôtel de Marigny - Le Magasin de l'Opéra - La machine infernale - Le cénacle du Doyenné - Le déblayement du Carrousel).JOINT: Lettre du Secrétaire Général de la Société d'Iconographie Parisienne, P. Jarry‎

‎ 1931 A Paris - Société d'Iconographie Parisienne / Chez Maurice Rousseau - Première édition 1931 - In-4 (25,5 x 33 cm) - Poids : 1560 gr. - (viii) 83 pages + 72 Planches en Héliogravure, hors texte en fin de volume & 8 Figures dans le texte + 1 Frontispice et quelques Culs-de-Lampe - Broché - Couverture cartonnée verte - Très bon état - envoi rapide et soigné‎

‎Créée en 1908, la Société d'Iconographie Parisienne avait pour objet de rechercher, répertorier et publier les représentations figurées de Paris et de ses habitants aux diverses époques de lhistoire, et de contribuer à létablissement dune méthode critique qui permette de déterminer dans quelle mesure ces représentations répondent à la réalité des choses - Livraison a domicile (La Poste) ou sur simple demande en Mondial Relay.- ATTENTION: Colis recommandé uniquement sur demande (parcel recommended on request). Si vous désirez un remboursement équivalent au montant de votre achat, en cas de perte détérioration ou spoliation, demandez-nous expressément un envoi en recommandé ( if you wish a repayment equivalent to the amount of your purchase, in case of loss - deterioration or despoliation, ask us expressly for a sending recommended)- Conditions de vente : Les frais de port sont affichés à titre Indicatifs (pour un livre) Nous pouvons être amené à vous contacter pour vous signaler le surcoût du au nopmbre de livres achetés ou du poids de ceux-ci. - Conditions of sale : The shipping costs are displayed as an indication (for one book) We may need to contact you to inform you of the cost of the additional shipping depending on the weight and the number of books- Possibilité d'envoi par Mondial-Relay - Réception en boutique sur rendez-vous. Librairie G. PORCHEROT - SP.Rance - 0681233148 ‎

‎plattegrond van de macht, inleiding tot politiek en politieke wetenschappen‎

‎Tielt, Academia Press, 2023 Hardcover, 636 pagina's, 28.5 x 22.3 cm. Nederlands. ISBN 9789401495028.‎

‎Wat is politiek? Is de Belgische politiek in handen van een elite? En is er nog wel echt sprake van democratie? Met deze en andere intrigerende vragen beginnen de auteurs van Een plattegrond van de macht elk hoofdstuk. Elke paragraaf brengt de lezer vervolgens een stukje dichter bij het antwoord. Verkiezingen, partijen of Europa: elk onderwerp wordt stap voor stap uiteengezet en de lezer krijgt de noodzakelijke uitleg aangereikt om de thematiek te kunnen begrijpen. Volledigheid noch specialisatie is de bedoeling van dit inleidende handboek. Wel wordt een stevige basis gelegd, waarna de lezer via de vele referenties naar literatuur zelf verder op verkenning kan gaan in de wondere wereld van politiek en politicologie. Zo blijft het boek ook lang na de studies een handig naslagwerk. ‎

‎Kultur des Wallis im Mittelalter.‎

‎Brig, Rotten-Verlag, 1981, in-4to, 237 S., reich ill., Original-Leinenband, mit OU.‎

‎Anton Josef Trcka, Edward Weston, Helmut Newton : The Artificial of the Real‎

‎, Scalo Publishers, 1998 Hardcover, 208 pages, ENG, 280 x 230 x 25 mm, dustjacket, in fine condition, photographs in colour / b/w . ISBN 9783931141882.‎

‎This book presents 3 important photographers--Anton Josef Trcka, Edward Weston, and Helmut Newton, and explores the relationships between reality and representation. ? ====================== ? In the works of Anton Josef Trcka nature is picturesque, an embellishment atmospherically enhancing his portraits. In Edward Weston's work it appears in its most basic, purest forms, as both reality and its metaphor. And for Helmut Newton nature is the hyper-real backdrop against which he stages the pictorial worlds which accompany and pursue us today. Body: Trcka uses the body as a vehicle for a new expressiveness, a new gesture, a new image of mankind, which at the turn of this century could only be created by means of a photography both so close to, yet so remote from reality. For Weston the body is pure form, one of the world's primordial forms, an abstract representation of human, physical existence. And Newton: here bodies are creations invented by the director behind the camera, manifestly rooted in reality, but nevertheless vigorously detached from it for the sake of art and artificiality. The Artificial of the Real is about the art of perceiving reality and representing it. Three photographers show how human beings have experienced themselves in their world at different moments during this century. For this, photography is how the artificiality of the real is rendered perceptible.‎

‎Brunelleschi‎

‎Librairie A. Hatier. Non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Environ 580 pages augmentées de nombreuses photos et quelques schémas en noir et blanc, dans et hors texte.. . . . Classification Dewey : 720-Architecture‎

‎"Collection ""Art et artistes - Série ""Les architectes"""" Classification Dewey : 720-Architecture"‎

‎Brunelleschi - 1377-1446 - Collection Art et artistes Série Les architectes.‎

‎A. Hatier. 1949. In-12. Broché. Etat d'usage, Couv. légèrement pliée, Dos satisfaisant, Papier jauni. non paginé, environ 79 pages, couverture contrepliée, quelques illustrations en noir et blanc dans le texte, nombreuses planches de photos et illustrations en noir et blanc - pellicule transparente de la couverture partiellement désolidarisée.. . . . Classification Dewey : 720-Architecture‎

‎Collection Art et artistes Série Les architectes. Classification Dewey : 720-Architecture‎

‎pittura senese del Trecento. [Edizione italiana, inglese, francese e tedesca]‎

‎Toscana, ERI - Edizioni RAI Radiotelevisione Italiana / ELECTA, 1981 Roma, 1981; ril. in tela in cofanetto, pp. 301, 294 ill. b/n e col. num. n.t., 294 tavv. b/n e col. num. n.t., cm 25,5x28,5. In Very Good Condition ! con sovraccoperta ! ISBN X.‎

‎Periodo: 1000-1400 (XII-XIV) Medioevo‎

‎L'EGLISE DE RAMPILLON - UN CHEF D'OEUVRE DU XIIIème SIECLE‎

‎Paris Achille Carlier 1930 In-4 Broché Parfait Ed. originale ‎

‎couverture illustrée ; VII (préface de Henri Focillon)+115pp+2ffnch ; 16 figures in-texte et 100 planches HT en phototypie ; Bel ouvrage, la partie texte est non coupée ; les planches tirées en noir sont bien fraiches et de bon tirage ; l'auteur était architecte ‎

‎L'Église de Rampillon.‎

‎Paris, Achille Carlier, 1930; 300 x 238 mm., (3) ff., VII-87 pp., pp. 97-115, (2) ff., 1(1) f. "erratum" (11 x 52 mm.), 100 planches en phototypie n/b, 15 fig. in-texte (1-13, 18, 19), broché, couverture illustrée, dos passé, déchirure de 10 x 50 mm. en tête du dos, de 10 mm. en pied du dos, de 35 mm. bord inf. de la première de couverture, ouvrage en partie non-coupé, il manque les pages 89 à 96 (fig. 14-17) c'est à dire le cahier n° 12. ‎

‎L'Eglise de Rampillon.‎

‎ Paris, s.é., 1930. Un fort vol. au format in-4 (303 x 242 mm) de vii - 115 pp. et 100 planches photographiques in fine, broché.‎

‎ Edition originale de cette monographie de référence, complète de se s100 superbes planches photographiques montées sur onglets. ''L'auteur ne se limite ici pas à l'anatomie de la structure, à un catalogue de mouturations. Il voit comment les choses s'assemblent et s'ajustent pour donner une oeuvre d'art, pour composer une physionomie. Son église est un tout organique, qui vit avec force, dans l'ordre d'une époque, dans le cadre d'un paysage qu'il évoque avec émotion. L'étude qu'il consacre à la sculpture de Rampillon atteste, outre une connaissance approfondie des problèmes iconographiques, la pratique familière des grands ateliers qui ont travaillé dans notre pays au cours du XIIème siècle, l'instinct et la science des formes, enfin, cette rare qualité sensible sans laquelle il n'est guère possible d'entreprendre des recherches''. (in Préface). Coiffes élimés. Dos légèrement ridé. Plats présentant un éclat très légèreent altéré. Quelques rousseurs dans le texte. Du reste, belle condition. ‎

‎Les Pierres de France. Organe de la Société pour le respect et la protection des Anciens Monuments français. ‎

‎ 1938 Paris, avril-juin 1938. Un fascicule in-4 broché, 92 pp. et 4 ff. publicitaires, ill. en n&b in-texte. Petite déchirure en tête, intérieur frais. ‎

‎La Porte des Comptes à Mantes. Le Scandale de Reims. La "restauration" de l'église d'Urcel. Le porche de Saint-Paul d'Abbeville s'est écroulé. Eglises désaffectées. Utilité d'un musée diocésain. La Profanation de l'Abbaye d'Ardenne. Le XIe congrès de la fédération historique lorraine. Echos. La protection des oratoires et des calvaires. La librairie est ouverte du mardi au samedi de 9h30 à 12h30 et de 13h30 à 19h00. Commandes par courriel ou téléphone. Envoi rapide, emballage soigné. ‎

‎Trésor de l'ART DENTELLIER. Répertoire des dentelles à la main de tous les pays, depuis leur origine jusqu'à nos jours. Préface de M.A. Lefébure. Ouvrage publié sous le patronage de la Chambre Syndicale de la dentelle de Bruxelles.‎

‎Bruxelles et Paris, Van Oest et Cie, 1922, fort in-4 demi basane à coins (vii-1-174-(1) pp.+ 96 planches hors-texte dont 2 dépliantes, accompagnées d'une légende.‎

‎96 planches hors-texte en héliotypie reproduisant plus de 800 modèles différents et de très nombreuses gravures dans le texte.Bon exemplaire. bon état. ‎

‎CARLIER. Travaux d'architectures 1870 -1930. LEOPOLD CARLIER 1839-1922. LOUIS & RENE CARLIER, Architectes diplomés par le gouvernement. Montpellier ‎

‎Strasbourg FDAR. Edition d'architecture, d'industrie et d'économie rurale S.A.R.L. 1931 in 4 (28,5x22,5) 1 volume broché, couverture imprimée, non paginé, avec de nombreuses photographies en noir et blanc, et plans de projets d'architecture réalisés par les Carlier Père et fils, célébres architectes montpelliérains. ''Villa Bianca'', Palavas-les-Flots (1873); Collège de Narbonne (1886); Casernement de Sète (1876); Hôtel particulier à Béziers (1887); Château de la Tour près Béziers (1887); Grands Magasins à Montpellier (1898); Cercle de la Loge à Montpellier (1893); Hôtel de Monsieur Jules Pams à Perpignan (1895), etc. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Broché ‎

‎Qastal al- Balqa', Jordanie ; un site umayyade complet (685- 705)‎

‎Plein- Cintre 1986 In-8 agrafé 21 cm sur 22. 32 pages. Couverture rempliée. Bon état d’occasion.‎

‎ Bon état d’occasion ‎

‎Mercurio. A Brig of the Regno Italico Sunk During the Battle of Grado (1812)‎

‎, Brepols, 2019 Paperback, xxxvi + 358 pages, Size:216 x 280 mm, Illustrations:357 b/w, 9 col., 25 tables b/w., 9 maps b/w, Language: English. ISBN 9782503581033.‎

‎Summary The Italian brig Mercurio was escorting the French 80-gun vessel Rivoli from Venice on its very first expedition, in 1812, when it was sunk by an English ship during the Battle of Grado. Since the wreck was identified, the Mercurio has been the site of several underwater excavations, beginning in 2001 and continuing from 2004 to 2011 by a team from the Universit Ca' Foscari of Venice, together with the local Soprintendenza. Their work revealed a number of extraordinary finds and provided a unique insight into life - and death - on a brig during the period of the Napoleonic wars. This volume offers a discussion and catalogue of the finds yielded by the Mercurio, including photogrammetry-plans of the bow and stern, together with an analysis of ship-building technique, detail of the equipment and arms used, and, uniquely, close detail of finds connected to the crew themselves. This is one of the few sites from the Mediterranean where human remains have been preserved, and through the work of anthropologists, it has even been possible to try and identify one of the men named on the crew list. Discovery of buttons, footwear, precious items, and even foodstuffs also serve to shed light on the daily life of the crew. This volume thus draws together a wealth of archaeological and historical information to tell the hitherto untold story of the Mercurio. TABLE OF CONTENTS List of Illustrations Foreword Preface Acknowledgements Introduction - CARLO BELTRAME Part I: Historical Context and the Battle of Grado 1. Napoleon's Italian Navy - PIERO CROCIANI 2. The Event in its Context - CARLO BELTRAME 3. The Mercurio According to the Historical Data - CARLO BELTRAME Part II: The Discovery, the Site, and the Methodology of Investigation 1. The Discovery of the Shipwreck and its Identification - CARLO BELTRAME 2. The Environmental Characteristics of the Site and its Aspect at the Moment of the Discovery -CARLO BELTRAME 3. Conditions of Preservation of the Objects - CARLO BELTRAME 4. The Dynamics of the Sinking and the Formation Processes - CARLO BELTRAME 5. Methods and Techniques of Investigation - CARLO BELTRAME Part III: The Ship 1. The Hull - CARLO BELTRAME 2. Equipment - CARLO BELTRAME 3 Furniture and Lighting -CARLO?BELTRAME AND STEFANIA MANFIO 4. Armament -CARLO BELTRAME 5. Projectiles -CARLO BELTRAME 6. Galley - STEFANIA MANFIO 7. Sanitary and Medical Arrangements - STEFANIA MANFIO Part IV: The Crew 1. Osteological Analysis of the Crew - FRANCESCA BERTOLDI, FIORELLA BESTETTI, ROBERTO CAMERIERE, AND CARLOTTA SISALLI 2. Crew, Uniforms, and Weapons -SOPHIA DONADEL 3. Gunflints - PAOLO BIAGI AND ELISABETTA STARNINI 4. Personal Possessions - CARLO BELTRAME 5. Coins - TOMASO LUCCHELLI Conclusions - CARLO BELTRAME References Appendices Appendix A: Conservation of the Waterlogged Wood - TIZIANA LANAVE Appendix B: The Conservation of the Leather - NECULINA CONDRACHE AND SOPHIA DONADEL Appendix C: The Restoration and Conservation of some Metallic Finds - GIUSEPPE MORETTI Appendix D: Transcriptions of Documents - Documents from Tracy, 2000 Catalogue‎

‎Felsina pittrice: The Lives of Francesco Francia and Lorenzo Costa‎

‎, Brepols - Harvey Miller, 2022 Hardback, xxxiv + 410 pages, Size:220 x 280 mm, Illustrations:14 b/w, 163 col., Language(s):English, Italian. ISBN 9781912554799.‎

‎Summary In Bologna, Giorgio Vasari's maniera moderna is inaugurated through the art of the goldsmith-painter Francesco Francia (c.1447-1517). Malvasia assimilates the beginning of this new era with the end of night and the crack of dawn, when never before seen colors are revealed to the eyes with extraordinary intensity. In his life of Francia, Vasari had acknowledged the role of precursor played by this Bolognese master in the history of Italian painting. By the same token, he had tarnished Francia's reputation by alleging that he had died soon after unpacking Raphael's Ecstasy of Saint Cecilia upon its arrival in Bologna. His death, Vasari insisted, was a moment of reckoning: it was then that Francia recognized his artistic inferiority and damnation with regard not only to Raphael, but also to the highest achievements of the maniera moderna. Aware of the historical validity of Vasari's account, Malvasia ?lifted? it wholesale into his Felsina pittrice, but not without bringing its author to trial by examining his biased testimony in light of the rich documentary evidence he had gathered against his narrative. Equipped with the most refined tools of forensic eloquence, seething with outrage, Malvasia is at his best in challenging Vasari's historical distortions and prejudices not only in connection with Francia, but also his disciples, Timoteo Viti (1469-1523), Lorenzo Costa (1460-1535), and Giovanni Maria Chiodarolo (1480-1530). Denouncing Vasari's silence about the works and importance of Francia's progeny--in particular Giacomo (1484-1557) and Giovan Battista Francia--Malvasia explains how the activity of these masters promoted the education and social status of painters in Bologna before the foundation of the Carracci Academy in 1582. Illustrated with numerous color images (many of them taken expressly for this publication), this volume provides a critical edition and annotated translation of Malvasia's lives of Francia and his disciples, among them prominently Costa. The integral transcription (for the first time) in this volume of Malvasia's preparatory notes (Scritti originali) to the lives of Francia, Costa, and Chiodarolo presents important material that could foster the study of Bolognese painting in the age of humanism under the rulership of the Bentivoglio.‎

‎Felsina Pittrice: Volume IX: Life of Guido Reni‎

‎, Brepols - Harvey Miller, 2019 Hardback, 2 vols, 1152 pages, Size:220 x 280 mm, Illustrations:9 b/w, 367 col., Languages: English, Italian. ISBN 9781909400696.‎

‎Summary Celebrated by Malvasia as the creator and promoter of the new maniera moderna, Guido Reni (1575-1642) introduces the fourth age of painting: a period marked by an original and sometimes bold elaboration of the notion of artistic perfection developed by the Carracci and embodied more specifically by Ludovico's "synthesis of styles." Art in Italy could have declined once again after the deaths of the Carracci, but thanks to Guido and Domenichino, Francesco Albani and Guercino, painting is restored to its full blossoming, and, as a result, the Carracci lesson spreads and triumphs throughout Italy. In assessing Guido's role in promoting this artistic vanguard, Malvasia finds himself in a theoretical impasse. On the one hand, he cannot resist his infatuation with Guido's work. Endowed with spellbinding powers, Guido's paintings constitute the greatest luxury of modernity insofar as they reflect an endless search for aesthetic refinement and transcendental beauty both in the representation of the human body and in the orchestration of light, color, and impasto. On the other hand, Malvasia balks at embracing Guido's "last manner." In Malvasia's eyes, Guido's final production is both exceedingly sophisticated and tainted by its very sophistication: delicacy verges on feebleness, transcendence coalesces into purposeless abstraction, divine vision engenders incompleteness, and sprezzatura turns into apparent negligence. Furthermore, for Malvasia Guido is both a paragon of virtue and the self-indulgent victim of the gambling demon. With acuity, Malvasia praises Guido the money maker, the self-confident artist able to overhaul the mechanisms of the art market by exponentially increasing the value of painting. And yet, Malvasia cannot help but condemn Guido the money squanderer, the indebted painter who gambles away his reputation and jeopardizes the quality of his sublime output. Illustrated with numerous color images, these two volumes provide a critical edition and annotated translation of Malvasia's life of Guido. Based on a radical reassessment of the historical documentation and a profound investigation of Malvasia's art criticism, these volumes offer the most thorough treatment to date of the artist's work.‎