‎Le Palais et la Galerie Pitti Album - Itinéraire 67 reproductions en noir et en couleur‎

‎Éditions Arnaud Florence 1958 19 pages in8. 1958. broché. 19 pages.‎

‎Très bon état‎

‎Piero Della Francesca - Les oeuvres‎

‎IT, Silvana , 2012 Hardcover, 240 pages, Text en Francais, 290 x 240 x 28 mm, Tres bon condition, jaquette illustre , illustrations / images en couleur / n/b, ISBN 9788836624645.‎

‎Cette monographie est dediee a un des plus grands artistes de la Renaissance italienne, Piero della Francesca (Borgo Sansepolcro, aux alentours 1416/1417-1492). Chaque oeuvre du maitre, du Bapteme du Christ a la Nativite conservees a la National Gallery, est presentee avec une image en pleine page et attentivement etudiee, tant du point de vue historique qu'esthetique, sans negliger les fortunes critiques au cours des siecles. Un interet particulier est reserve a la splendide serie de fresques, avec La legende de la Vraie Croix dans la basilique de San Francesco d'Arezzo, consideree comme son chef d'oeuvre. L'auteur, a qui nous devons les restaurations de la Chapelle, propose dans cette etude les resultats des interventions sur la moitie des surfaces peintes, accompagnes d'images des fresques apres restauration. Le volume represente un instrument complet et maniable pour tous ceux qui veulent se rapprocher de l'oeuvre de Piero della Francesca. ‎

‎AUGUST MACKE‎

‎TEXTE EN FRANCAIS-96 PAGES-23 CM X 30 CM-(EM624)‎

5 Images

‎BENEDIKT TASCHEN COUVERTURE SOUPLE ETAT COMME NEUF‎

‎Les Paysages de la raison‎

‎2005 chez Actes Sud. In-8, broché, 256 pages. ‎

‎Riche iconographie en noir et blanc. Exemplaire en bon état malgré un plis sur la 4eme de couverture. Dos légèrement cassé. Intérieur frais et agréable. ‎

‎Aux origines d'un goût : La peinture baroque aux Etats-Unis/Creating the Taste for Baroque Painting in America‎

‎Paris Tableau/GT Finance, Paris, 2015. In-4, cartonnage éditeur sous couverture illustrée en couleur, 99 pp. La résurrection du Baroque au début du XXe siècle/the Resurrection of the Baroque in the Early Twentieth Century, Anna Ottani Cavina - Les collections de peinture baroque aux Etats-Unis : un point de vue européen/Collections of Baroque Paintings in the ...‎

‎Nombreuses illustrations en noir et en couleur.Ouvrage bilingue anglais/français. --- Plus d'informations sur le site archivesdunord.com‎

‎Leon Spilliaert of de schoonheid van een wijs hart / ou la beaute de l'intelligence de coeur.‎

‎, Antwerpen pandora, , 1998 Hardback (relie), 305x240mm, 320 pages, 400 col.ill ,Dutch (NL) + French (FR) edition Version ISBN 9053251111.‎

‎Een einzelganger was hij, enerzijds gebed in de symbolistische traditie van de fin-de-siecle, aan de andere kant lonkend naar de avant-garde. Balancerend op de eeuwwisseling nam Leon Spilliaert (1881-1946) nooit een duidelijke plaats in in het esthetische referentiekader van zijn tijd.Met James Ensor deelde hij naast hun beider thuishaven Oostende, een gelijkgestemde drijfveer gebaseerd op spot en ironie, non-conformisme en de drang om een andere blik op de wereld te werpen. Spilliaert creeerde echter een eigen spirituele beeldtaal, hij experimenteerde met pastel en gouache, speelde met uitgezuiverde kleurvlakken en sierlijke lijnen. De zee onder een koele maan, eenzame figuren met een lege blik, stranden ontdaan van elke menselijke aanwezigheid, lege kamers en gestileerde silhouetten in tegenlicht: Spilliaert wist in abstraherende lijnen en kleuren steeds weer een sfeer van mysterie, magie en vervreemding op te wekken. Door de magisch-realistische toon van zijn werk kan Spilliaert beschouwd worden als een overgangsfiguur tussen symbolisme en surrealisme.Anne Adriaens-Pannier, conservator aan de Koninklijke Musea voor Schone Kunsten van Belgie in Brussel, werkt sinds 1995 op vraag van de familie Leon Spilliaert aan de beredeneerde catalogus van zijn oeuvre en brengt in dit prachtig geillustreerde boek hulde aan de kunstenaar. Zij beschrijft uitgebreid het autonome oeuvre en wijst op het illustratief werk als randverschijnsel. Spilliaert wordt geplaatst als schakel tussen grote kunstbewegingen, in het boeiende tijdperk waarin hij leefde en werkte. Een uniek boek over een heel bijzondere kunstenaar.‎

‎SIMON HANTAÏ‎

‎ 1992 Centre georges Pompidou, Paris, 1992. Un volume in 4° relié cartonnage éditeur, 69 pages, illustrations noir et couleurs, bon état.‎

‎ Remises possibles sur les achats en lot, achetez plusieurs objets à la fois ! Reçoit sur rendez-vous pour consultation des ouvrages.‎

‎Ritual, Gender, and Narrative in Late Medieval Italy. Fina Buzzacarini and the Baptistery of Padua‎

‎, Brepols, 2020 Hardback, 384 pages, Size:225 x 280 mm, Illustrations:188 col., Language: English. ISBN 9782503579689.‎

‎Summary Ritual, Gender, and Narrative in Late Medieval Italy is the first English-language study of the baptistery of Padua and its extraordinarily rich fresco program, which opens with Genesis and closes with the Apocalypse. Remarkably, when the building was refashioned and frescoed by Giusto de' Menabuoi in the 1370s, it was a woman, Fina Buzzacarini, who funded the enterprise. In late medieval Italy, baptisteries were potent symbols of civic identity, solidarity, and pride, and towns spent lavishly on them - but no other baptistery was so radically reworked at the behest of a woman. Remarkably, too, though the building continued to function as Padua's baptismal church, the renovations transformed it into the mausoleum of Fina Buzzacarini and her family. This volume takes an interdisciplinary approach, using close visual analysis to argue that to a surprising degree, Fina exerted control over the images. The author argues too that ritual is equally important in understanding the frescoes: that in multiple ways that have rarely been considered, the images respond to and participate in the ritual enacted in this sacred space. The prayers intoned at the font, the actions of the officiant, the hymns chanted in procession and inside the baptistery, and even details of the rite all find visual echoes on the baptistery's walls. Ultimately, gender and ritual intersect in the multilayered frescoes of the Padua baptistery. TABLE OF CONTENTS Introduction Chapter 1 Fina Buzzacarini in Carrara Padua Local chroniclers say little about Fina, but recount one salient aspect of her life: after marrying Francesco I Carrara in 1345, she failed for over a decade to produce the requisite son and heir. After crises at court over succession, in 1359 she gave birth to a son. Though the couple's marriage was strained by her husband's blatant philandering, previously overlooked records show that Fina, a very wealthy woman, gradually emerged as a powerful presence at court. While some have minimized the degree of Fina's responsibility for the baptistery's program, I cite a number of documents from the later trecento that attest to a woman's ability to shape the subject matter of a work that she funded. I next discuss Fina's tomb monument, which emulates those of earlier Carrara lords but outshines them, and her votive portrait, which places her on the dexter side, as sole donor, and excludes her husband. Finally, I consider the extraordinary small portraits of Fina inserted into several of the narratives and interpret them as assertions of her authority, overt claims of agency, injected through the program. Chapter 2 Baptistery as Mausoleum: Ambitions and Motivations Why would Fina have sought the baptistery as a burial site, and why did Francesco and the local bishop, whose approval would have been required, agree? The sacred space of a baptistery had long been understood as a desirable funerary site. For Francesco, the project meant the embellishment of one of the most important buildings in the city, burnishing the stature of the regime; co-opting the preeminent symbol of civic harmony; and creating a prestigious-and presumably spiritually advantageous-setting for his own tomb. For the bishop, given the brief tenures of his predecessors who dared to cross Francesco, attempting to thwart the project was not a viable option. Fina likely had reasons of her own, which I consider further in Chapter 6, for choosing the baptistery as her burial place. Here I note that baptisteries were uncommonly welcoming to women. The rite offered them a rare opportunity to participate in the liturgy: women took their place at the font next to men. Finally, in electing her burial in the baptistery, Fina insured that her tomb would be seen, and her memory preserved, by future generations. Chapter 3 Narrative, Ritual, Exegesis: The Genesis Cycle This chapter opens with an account of the baptismal ritual as performed in late medieval Italy- the choreography of prayers, chants, readings, ritual actions, and attendant customs for both the solemn rite and the individual rite. The rest of chapter 3, and chapters 4 and 5, analyze the frescoes in the narrative cycles, arguing that they are as carefully choreographed as the rite, and work in concert with it. They respond as well to baptismal theology, depicting themes that offer pictorial glosses on the rite, echoing typological parallels drawn by medieval exegetes. The Genesis cycle in the drum of the dome includes narratives both familiar and more obscure (the Death of Adam; Lamech Slaying Cain; Jacob's Prayer after his Dream; Jacob's Rods; the Reunion of Jacob and Esau). The obscure episodes are distinctly baptismal, and even the familiar ones are rendered in unusual ways that heighten their baptismal resonance. Chapter 4: Narrative, Ritual, Exegesis: The New Testament Cycle The baptismal themes introduced in the drum continue below, in the New Testament cycle, where the frescoes are often strategically sited to respond to others, each accruing meaning from those nearby. Because of these pictorial and thematic correspondences, it is most productive to analyze the frescoes spatially, wall by wall, rather than purely chronologically. While most of the New Testament episodes depicted here are commonly seen in trecento visual narrative, almost all have been adapted in ways that make them singularly appropriate to the site. For instance, in the Massacre of the Innocents, the slain babies, normally shown nude in trecento painting, wear white tunics that evoke the white garments given to infants after baptism; the jugs in the Marriage of Cana are enlarged versions of the ewer used in the baptismal rite. Chapter 5: Narrative, Ritual, Exegesis: The Apocalypse Cycle In the baptistery's apse is a remarkably detailed depiction of the book of Revelation, a subject seldom seen in trecento painting and never on this scale. The choice was well considered: from late antiquity into late medieval Italy, exegetes found in the text repeated allusions to the sacrament. Again, uncommon narrative inclusions, such as the opening of the fifth seal, with the giving of white garments to the souls under the altar, or idiosyncratic features, like the setting of scenes in dramatic seascapes that attest to the salvific potency of water, highlight the relationship between the images and the rite enacted here. Chapter 6: Gender Matters: Maternity, Sexuality, and Visual Rhetoric If the Padua baptistery is a site for the celebration of the liturgy, it is also a site for the celebration, and commemoration, of its patron. Chapter 6 returns to the visual evidence to examine Fina's role in the baptistery more closely. The gender symmetry of the dome, where women and men appear in equal numbers in the largest circle of Paradise, is suggestive. So is the Genesis cycle's insertion of women into the narrative, at times almost rewriting sacred history to insist on their active participation at critical junctures. Moreover, many of the women featured in the dome and the drum are, unlike most women in the Christian pantheon, mothers - significantly, mothers of sons. Several (Sarah, Rebecca, Rachel, Elizabeth) conceived and delivered sons only after a long delay. Important, too, is the Apocalyptic Woman of Rev. 12, prominently depicted in the apse, who gave birth to a son born to rule. All of these women serve as Fina's exemplars - and as reminders of her success in delivering her own long-awaited son. Finally, the frescoes also feature malevolent, and specifically sexually transgressive, women: Herodias, the wife of Lot, and the Whore of Babylon; all are visually juxtaposed with virtuous mothers, and Herodias, who had an adulterous relationship with a ruler, with Fina herself.‎

‎Les couleurs d'Odessa‎

‎Calmann-Lévy 1979 305 pages in8. 1979. broché. 305 pages. Le roman suit la vie de Julius un peintre solitaire né à Odessa au début du XXe siècle dont l'enfance est marquée par la Révolution russe les pogroms dans le quartier juif et l'exil. Cinquante ans plus tard de retour dans sa ville natale il ne retrouve plus les couleurs d'Odessa qui ont inspiré son œuvre évoquant un passé révolu et un bonheur impossible‎

‎Bon état‎

‎Rembrandt - Version francaise ‎

‎ Amsterdam, 1989. Format 19x28 cm, broche, 128 pages. Avec un nom au stylo sur la page de titre. Bon etat. ‎

‎JEAN FOUQUET. Prince des enlumineurs ‎

‎Genève Editions de Crémille 1989 in 4 (27,5x22) 1 volume reliure pleine suédine bleue ornée de l'éditeur, dos lisse titré en long, plats décorés d'un important encadrement doré, tête dorée, 123 pages [2], avec de nombreuses illustrations en couleurs. Collection: ''Les merveilles de l'enluminure''. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Couverture rigide ‎

‎La peinture égyptienne du nouvel empire, XVIIIe, XIXe, XXe dynastie. Collection: Merveilles de l’Enluminure.‎

‎ Genève, Editions de Crémille 1989, 275x220mm, 127pages, reliure d'éditeur. Reliure soie avec encadrements dorés sur les deux plats et tire doré au dos. Tranche supérieure dorée. Très bel exemplaire.‎

‎ illustrations en couleurs in et hors texte, Pour un paiement via PayPal, veuillez nous en faire la demande et nous vous enverrons une facture PayPal‎

‎L'APOGÉE DE LA FRESQUE ÉGYPTIENNE. La peinture égyptienne du nouvel empire (XVIIIe, XIXe, XXe dynastie) ‎

‎Genève Editions de Crémille 1989 in 4 (27,5x22) un volume reliure pleine suédine bleue ornée de l'éditeur, dos lisse titré en long, plats décorés d'un important encadrement doré, tête dorée, 127 pages. Nombreuses illustrations en couleurs. Collection: ''Les merveilles de l'enluminure''. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Reliure ‎

‎L'APOGÉE DE L'ENLUMINURE (1380-1430). Le style gothique international ‎

‎Genève Editions de Crémille 1989 in 4 (27,5x22) un volume reliure pleine suédine bleue ornée de l'éditeur, dos lisse titré en long, plats décorés d'un important encadrement doré, tête dorée, 127 pages, avec de nombreuses illustrations en couleurs. Collection: ''Les merveilles de l'enluminure''. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Reliure ‎

‎L'ART DES STEPPES DE L'ASIE CENTRALE. Un art fantastique et sarcastique ‎

‎Genève Editions de Crémille 1990 in 4 (27,5x22) un volume reliure pleine suédine bleue ornée de l'éditeur, dos lisse titré en long, plats décorés d'un important encadrement doré, tête dorée, 127 pages, avec de nombreuses illustrations en couleurs. Collection: ''Les merveilles de l'enluminure''. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Reliure ‎

‎L'ENLUMINURE AU TEMPS DES CATHÉDRALES (1250-1380) ‎

‎Genève Editions de Crémille 1989 in 4 (27,5x22) un volume reliure pleine suédine bleue ornée de l'éditeur, dos lisse titré en long, plats ornés d'une importante dentelle d'encadrement dorée, tête dorée, 127 pages, avec de nombreuses illustrations en couleurs. Collection: ''Les merveilles de l'enluminure''. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Reliure ‎

‎LES PRIMITIFS CHRÉTIENS DU NIL BLEU. Aux sources du Nil bleu; Enluminures et peintures chrétiennes du XIe au XVIIe siècle. Tomes 1-2 ‎

‎Genève Editions de Crémille 1990 in 4 (27,5x22) 2 volumes reliures pleine suédine bleue ornées de l'éditeur, dos lisses titrés en long, plats décorés d'un important encadrement doré, têtes dorées, 127 et 127 pages, avec de nombreuses illustrations en couleurs. Collection: ''Les merveilles de l'enluminure''. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Reliure ‎

‎Works in Collaboration Frans Snijders and Other Masters. Corpus Rubenianum Ludwig Burchard, vol. 27.2‎

‎, Brepols - Harvey Miller, 2025 hardcover, dusjacket, 290 pages, Size:175 x 260 mm, Illustrations:65 b/w, 42 col., Language(s):English. *New. ISBN 9781915487582.‎

‎Summary Peter Paul Rubens already had assistants working for him in his studio when he first gained admission to the Antwerp Guild of St Luke in 1598. At this period too he began to co-operate with other masters, such as Jan Brueghel the Elder; a separate volume, dedicated to that collaboration, was published in 2016 (Corpus Rubenianum Ludwig Burchard, XXVII (1): Jan Brueghel I & II). On his return from Italy in 1609, not only did Rubens?s studio assistants increase in number, so too did the co-operative projects that the artist undertook. Rubens continued to work with Jan Brueghel the Elder until 1621. When Brueghel died in 1625, his son Jan continued the partnership with Rubens until the latter?s death in 1640. Similarly productive was the collaboration between Rubens and the still life and animal painter Frans Snijders. It began shortly after Rubens's return to Antwerp and is reflected in various large-format works for the courts of Brussels and Madrid [?], but also in smaller ?cabinet? paintings, some of which were executed by members of the respective workshops of the two masters. The collaboration soon extended to the studio of the animal painter Paul de Vos, whose sister Margriete had married Snijders in 1611. One such joint painting was still in Rubens?s possession at the time of his death and was listed in the 1640 catalogue of the works for sale from the artist?s estate. This document also reveals that, among the paintings by other masters that he owned, Rubens possessed a surprisingly large quantity by the Dutch landscape and genre painter Cornelis Saftleven. Rubens had worked with Saftleven during his stay in Antwerp at the beginning of the 1630s, and evidently appreciated his talent, even if this collaboration can be represented only by a single painting. The present is devoted to Rubens?s fruitful partnership with Frans Snijders, as well as to his collaborations with Paul de Vos and Cornelis Saftleven. It thus contributes not only to the documentation of Rubens?s oeuvre, but also to the understanding of workshop practices and the lives and social networks of painters in the city of Antwerp. -- Catalogue Raisonn Rubens and Snijders: An Enduring Alliance Rubens and Paul de Vos Rubens and Cornelis Saftleven‎

‎Oiseaux et bouquets peinture sur porcelaine‎

‎Dessain et Tolra 1995 80 pages IN4. 1995. reliure editeur souple. 80 pages.‎

‎Très bon état‎

‎Cézanne sur le vif‎

‎K livres | Aix-en-Provence 1990 | 11 x 16 cm | broché‎

‎Edition originale imprimée à 400 exemplaires numérotés sur Rives design à l'occasion de l'exposition Sainte-Victoire, Cézanne 1990. Ouvrage orné d'une photographie sur le premir plat. Agréable exemplaire. - Photographies et détails sur www.Edition-Originale.com -‎

‎Oeuvres décoratives‎

‎Cairn, 2006. In-4, broché, 124 pages. Exemplaire portant les traces de mouillures. Pièce de témoignage‎

‎Joseph Beuys – Zeichnungen Zu den beiden 1965 wiederentdecken Skizzenbüchern « codices Madrid von Leonardo da Vinci ‎

‎München et Berlin, Haus der Kunst et Museum der Dinge, 1998. Broché, 23 cm x 31 cm, 205 pages, illustrations noir & blanc in-texte, illustrations couleur pleine page. Introduction en allemand de Lynne Cooke, textes en allemand de Ann Temkin, Martin Kemp, Cornelia Lauf, biographie, bibliographie. Très bon état ‎

‎Annuario artisti toscani. 1952. Catalogue en noir et blanc.‎

‎Couverture souple. Broché. 224 pages.‎

‎Livre en italien. Editions Sindicato nazionale, 1952.‎

‎GEORGES ROCHER (1927-1984) ‎

‎160 PAGES-25 CM X 33 CM-PETITE DECHIRURE EN COIFFE DE TETE DE LA JAQUETTE SINON ETAT NEUF-(500B)‎

5 Images

‎ALAIN BARGAIN-QUIMPER COUVERTURE RIGIDE ETAT COMME NEUF‎

‎Acquisitions récentes 1975-1980‎

‎Musée des Beaux-arts de Dijon Broché 1981 In-8 carré (18,5 x 18,5 cm), broché, 80 pages. Petit catalogue des acquisitions réalisées par le Musée de Dijon entre 1975 et 1980 (gravures, dessins, peintures, sculptures, objets d'art). Bel état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎