‎TIMBRES MAGAZINE - L'OFFICIEL DE LA PHILATELIE n°12 (Avril 2001)‎

‎Revue mensuelle conernant la philatélie : environ 110 pages en couleurs, format 300 x 210 mm, illustrée, brochée couverture couleurs + fiches détachables‎

‎Au sommaire : L'Ordre de Malte ; Belgique : la série UPU ; Les marques postales secrètes sous Vichy‎

‎TIMBRES MAGAZINE - L'OFFICIEL DE LA PHILATELIE n°14 (Juin 2001)‎

‎Revue mensuelle conernant la philatélie : environ 110 pages en couleurs, format 300 x 210 mm, illustrée, brochée couverture couleurs + fiches détachables‎

‎Au sommaire : Spécial Belgique/région Nord Pas de Calais ; Pasteur, qui l'a réellement gravé ? Le Congo de Léopold ; La collection Karpov‎

‎Een lepel herinneringen.‎

‎Antwerpen, Het Kompas, 1943. in-8, 53 pagina's, oorspronkelijk uitgevers omslag,‎

‎Very fine copy - Tres bon etat. (rares rousseurs en couv) [BU-1] ‎

‎Heilige Nacht. Darstellungen berühmter Meister. Worte von Felix Timmermans‎

‎Leipzig, Meister der Farbe 1935 14pp. + 10 plates in colour + [6]pp., 23cm., 2nd ed., cart.cover, few stamps, G, T72330‎

‎Ik ben een snaar op uwe harp : suite van elf originele platen ge nspireerd door verzen uit "Adagio", dichtbundel van Felix Timmermans‎

‎Antwerpen, Kunstkring 't Getij,, 1972 Kunstenaars -map, losbladig, genummerde en beperkte oplage van 130 exemplaren.‎

‎suite van elf originele platen ge nspireerd door verzen uit "Adagio", dichtbundel van Felix Timmermans met o.a; Timmermans, Felix [pass. aut.] Brems, Walter [ill.]de Coster, Jean Pierre [ill.]Dierikx, Gust [ill.]Gaudaen, Gerard [ill.]Gorus, Jacques [ill.]Janssens, Piet [ill.]Mariman, Guido [ill.]Theys, Freddy [ill.]Van den Dries, Maurice [ill.]Veris, Ren [Veris, Renaat] [ill.]‎

‎Oscar van Rompay.‎

‎Antwerpen, Standaard-boekhandel, 1943 oorspronkelijk uitgevers omslag 27pp.+10 z/w. buitentekst platen, 13.5x19.5cm., goede staat. ‎

‎Vlaamsche volksleven volgens Pieter Brueghel door Felix Timmermans .‎

‎, Amsterdam : Van Ditmar, 1936, Oorspronkelijk uitgevers omslag, 15 pagina's met afbeeldingen in kleur.‎

‎GEGROET, O LIER ! 20e Jaarboek 1992 van het Felix Timmermans genootschap‎

‎, Jaarboek 1992 van het Felix Timmermans genootschap, Ingenaaid, originele omslag in kleur en opdruk, 304 pp + foto's. ISBN 9030620455.‎

‎Twintigste jaarboek. Feestuitgave rondom "Schoon Lier". Boek is in goede staat.‎

‎HET WERK VAN FRED. BOGAERTS,‎

‎, Den Haag, Servire, 1929, Gebonden in zwart linnen met goudopdruk op rug en front, oblongformaat, 25pp., 30 reprodukties in z/w en 2 in kleur.‎

‎Zeldzame publicatie over het werk van de Vlaamse illustrator en grafisch kunstenaar uit het begin van de 20ste eeuw. Goede staat, ‎

‎Adagio met meditaties‎

‎Wommelgem, Den Gulden Engel 1987 93pp., 24cm., 3e druk, tweekleurendruk, mooie staat, T73497‎

‎Adagio [text in Dutch and Japanese]‎

‎Tielt, Lannoo 1980 90pp., 25cm., publisher's hardcover in brown cloth, vague trace of removed label on spine and ex-libris stamp on title page, text is cleana and bright, good condition, [Introduction in English, Texts of Timmermans' poems are bilingual: Dutch with Japanese translation in calligraphy], T106342‎

‎Vlaamsche arbeid. Tweemaandelijksch tijdschrift voor Vlaamsche letterkunde. Jg.5 (1909-1910) [volledig in 12 nummers]‎

‎Antwerpen, Vlaamsche Arbeid 1909-1910 jg.5 volledig in 12 nrs.: samen 472pp., 27cm., originele omslagen (enkele omslagen licht verkleurd), enkele roestvlekjes, goed, [bevat o.m. volgende bijdragen van Felix Timmermans: Doodsbede (gedicht, pp.15-16), Vers (gedicht, p.105), De arme visschersschuit (gedicht, p.304) & Avond (gedicht, p.433)], T76494‎

‎Vlaamsche arbeid. Tweemaandelijksch tijdschrift voor Vlaamsche letterkunde. Jg.6 (1910-1911) [volledig in 12 nummers]‎

‎Antwerpen, Vlaamsche Arbeid 1910-1911 jg.6 volledig in 12 nrs.: samen 472pp., 27cm., originele omslagen (enkele omslagen licht verkleurd of beduimeld), enkele roestvlekjes, gedeeltelijk onopengesneden, goed, [bevat o.m. volgende bijdragen van Felix Timmermans: De ivoren fluit (samen met Frans Thiry, pp.5-17 & pp.41-51), T76495‎

‎Calendrium Cartusiae Monachorum Brugensis [Analecta Cartusiana, 279-4]‎

‎Salzburg, Universität Salzburg 2014 xiv + 368pp., in the series "Analecta Cartusiana" volume 279-4, 30cm., illustrated softcover, text in Latin, text clean and bright, very good condition, B104504‎

‎Anne-Marie. Roman traduit du flamand par Madame Cludts.‎

‎ Paris, La Sixaine 1946 193x143mm, 246pages, broché. Bel exemplaire.‎

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‎Pallieter.‎

‎Bruxelles, D.A.P. Reinaert uitgaven, 1964. 12 x 18, 224 pp., reliure d'édition skivertex, très bon état.‎

‎Texte en néerlandais.‎

‎Camille Huysmans‎

‎, Antwerpen, De Sikkel, s.d., 40pp., gesigneerd met opdracht, uit de reeks "Vlamingen van betekenis" Nr.VIII, B17381‎

‎Het convent van Betlehem - een half millenium vrouwelijke spiritualiteit en bedrijvigheid‎

‎Duffel, Convent van Betlehem 1999 504pp. rijkelijk geïllustreerd, 31cm., gecart. uitgeversband, mooie staat, B53041‎

‎ Elegant gezelschap in een tuin. Een muzikaal schilderij vol wijsheid.‎

‎Antwerp, Phoebus Focus IX, 2020 Paperback, 102 pages, 21,1 x 14,1 x 1,1 cm. Illustrated. Text in NL. ISBN 9789082829099.‎

‎Phoebus Focus IX 9 - Elegant gezelschap in een tuin. Een muzikaal schilderij vol wijsheid Auteur: Timothy de Paepe ‎

‎Portrait of Henricus Liberti ? A Musical Painting by Anthony Van Dyck (1599-1641) ‎

‎, Phoebus Focus , nr. 27, 2024 softcover, 77 pag. illustrations in color 21x14.8cm. English edition ISBN 9789464366242.‎

‎Phoebus Focus XXVII - The Antwerp Baroque portrait specialist Anthony Van Dyck painted Henricus Liberti in around 1627-1632 as a self-assured and talented musician, who was well aware of his worth. Today, just a handful of Liberti?s musical pieces have been preserved and the archives hardly mention any traces of the life of this Antwerp keyboard virtuoso and composer. We do not even know for sure when and where he was born. The fact that the musician was not forgotten is largely due to Van Dyck?s magnificent Portrait of Henricus Liberti, which is now part of The Phoebus Foundation?s collection. This Phoebus Focus zooms in on the prestigious history of Van Dyck?s portrait and brings together the details of Liberti?s life and oeuvre. We also focus on the masterly way in which the painter depicted the inspired virtuoso.‎

‎Portret van Henricus Liberti, een muzikaal schilderij van Antoon Van Dyck (1599-1641) ‎

‎, Phoebus Focus , nr. 27, 2024 softcover, 77 pag. met illustraties in kleur. 21x14.8cm. ISBN 9789464366235.‎

‎De Antwerpse barokke portretspecialist Antoon Van Dyck schilderde Henricus Liberti omstreeks 1627-1632 als een zelfbewuste en getalenteerde musicus, iemand die wist wat hij waard was. Vandaag de dag is nog slechts een handvol van Liberti?s muziekwerken bewaard en over het leven van deze Antwerpse klaviervirtuoos en componist zijn er in de archieven amper nog sporen te vinden. We weten zelfs niet eens zeker waar en wanneer hij werd geboren. Omschrijving De Antwerpse barokke portretspecialist Antoon Van Dyck schilderde Henricus Liberti omstreeks 1627-1632 als een zelfbewuste en getalenteerde musicus, iemand die wist wat hij waard was. Vandaag de dag is nog slechts een handvol van Liberti?s muziekwerken bewaard en over het leven van deze Antwerpse klaviervirtuoos en componist zijn er in de archieven amper nog sporen te vinden. We weten zelfs niet eens zeker waar en wanneer hij werd geboren. Dat de musicus niet vergeten is, danken we grotendeels aan Van Dycks magistrale Portret van Henricus Liberti dat zich nu in de collectie van The Phoebus Foundation bevindt. Deze Phoebus Focus zoomt in op de prestigieuze geschiedenis van Van Dycks portret en brengt de gegevens over Liberti?s leven en oeuvre samen‎

‎THEODOOR ROMBOUTS Virtuoos van het Vlaamse caravaggisme‎

‎, Snoeck, 2023 hardcover, 290 x 255 mm, 288 pagina's , 300 illustraties, NL edition. ISBN 9789461618115.‎

‎Theodoor Rombouts (1597-1637) was een gevestigde waarde in het Antwerpse kunstenaarsmilieu van zijn tijd. Na zijn artistieke opleiding bij Abraham Janssen migreerde hij aan het begin van de 17de eeuw naar Itali . Daar liet hij zich inspireren door de revolutionaire schilderkunst van Michelangelo Merisi da Caravaggio en diens belangrijkste navolgers uit Itali , Frankrijk en de Lage Landen. Terug in Antwerpen ontwikkelde hij een geheel eigen artistieke identiteit. Rombouts wist invloeden uit Noord en Zuid op virtuoze wijze te versmelten en specialiseerde zich succesvol als caravaggistisch figuurschilder in monumentale genrevoorstellingen. Rombouts' huidige relatieve onbekendheid staat in schril contrast met het respect en de waardering die tijdgenoten als Peter Paul Rubens en Anthony van Dyck voor hem als schilder hadden. Dit boek, het eerste boek ooit over Theodoor Rombouts, ontsluiert zijn artistieke persoonlijkheid en brengt een nieuwe kijk op zijn werk.‎

‎RINUS VAN DE VELDE A Life in a Day.‎

‎Antwerp, Tim Van Laere, 2023 Hardcover,158 pages, Illustrated., Quadrilingual: English, Dutch, French, Italian .FINE. ISBN 9789464004243.‎

‎Tim Van Laere Gallery presents A Life in A Day, Rinus Van de Velde's seventh solo exhibition at the gallery. In this exhibition, the artist not only presents new drawings in oil pastel, colored pencil, and charcoal but also premieres his third film, A Life in A Day, along with a selection of sculptures featured in the film.. Rinus Van de Velde's oeuvre reads like a multiverse, in which different storylines always run parallel to one another. He has already created several alter egos that allow him to appropriate different personas and explore worlds that do not (yet) belong to him. Throughout these different worlds, the constant anchor point is the artist himself. Through impersonations, constructed lies, and appropriations, he comes closer to uncovering the truth about his own identity and artistry. His latest film also mirrors this process. In his debut film, The Villagers, Van de Velde started from a predefined narrative, in which the artist himself played a small role as spectator. That narrative already evolved into a more abstract form in his second film, La Ruta Natural. For this film, the artist had a mask made in his likeness allowing one of his assistants to embody the artist?s role. This allowed Van de Velde to observe himself from a distance and portray and analyze his artistry. This same mask reappears in A Life in A Day. While La Ruta Natural?s storyline focused on the creation and destruction of his various alter egos, A Life in A Day delves into Van de Velde's artistry in a more intimate and pure way, inviting us to partake in the artist's inner process. The film opens with a very mundane scene where the artist wakes up, gets dressed, and then walks out the door with his briefcase to start his day. The motif of the briefcase plays an important role here as the depiction of a bundle of thoughts, ideas, and visualizations. It also plays an important role in the encounter between the artist and his gallerist Tim Van Laere, with the briefcase symbolising the dialogue between the two figures. After his daily activities, the artist then enters his imaginary universe, where he walks into a natural scenery. Here, in his solitude, the artist finds a moment of peace and takes his place like a pleinairist to create new work. This desire is visible in the oil pastel drawings in the first space of the exhibition, where the majority focuses on natural landscapes. Then he takes a shortcut to an underground, deeply hidden space, where we find the artist's inner vault. Within this archive, the artist meticulously organizes all his ideas, thoughts, images, and texts. This process of exploration, deepening, appropriating, and reinventing also resonates within the exhibition, where charcoal, oil pastel, colored pencil drawings, and sculptures are showcased. All of these works speak volumes about the artist: about his ambitions, doubts, concerns, his moments of happiness, but also of loneliness, frustration, and sadness. The predominance of the artist's personal voice in all his works makes it possible for him to appropriate any style, without losing his own identity in it. Works by Picasso, Van Gogh, Ensor, Matisse, Armen Eloyan, and Alfred Wallis are unmistakably redirected to a Rinus Van de Velde. The fact that the artist looks a lot to his predecessors and also immerses himself completely in their work is also portrayed in his latest film, in which he defies gravity while climbing through a hatch into a swimming pool that refers to David Hockney. In this scene, too, Van de Velde appropriates the pool by the simple act of washing out his brushes in the pool, resulting in a transformation of the water?s hue. Rinus Van de Velde (b. 1983 in Leuven, Belgium) lives and works in Antwerp. Work by the artist is in several international collections, including S.M.A.K. (Ghent), M HKA (Antwerp), Royal Museums of Fine Arts of Belgium (Brussels), CAC (Malaga), Kunstmuseum Luzern (Lucerne), FRAC des Pays De La Loire (Nantes), Museum Voorlinden (Wassenaar), Kunstmuseum (The Hague), AZ Artgestion Collection (Bilbao), Kunsthalle Sao Paolo (Sao Paolo), KWM Art Center (Shangai), KPN Art Collection (Netherlands), Stad Antwerpen (Antwerp), Erasmus University (Rotterdam), Belfius Art Collection (Brussels) and Colleccion Solo (Madrid).‎

‎BRAM DEMUNTER - Burrowers, Climbers, Crawlers. ‎

‎, Tim Van Laere Books , 2024 hardcover, 112 pages, throughout colour illustrations Text in English, Dutch, French, Italian. . ISBN 9789464004281.‎

‎BRAM DEMUNTERB urrowers, Climbers, Crawlers30 November, 2023 - 20 January, 2024 INSTALLATION VIEWS WORKS Tim Van Laere Gallery presents the second solo exhibition by Bram Demunter, titled Burrowers, Climbers, Crawlers. Bram Demunter's work is about us, human beings, and about the place we occupy in the world. It is about the mythologies we shape around ourselves, the narratives and the visual cultures we create, as well as the traces we leave behind in the natural world. His paintings and drawings strongly illustrate his process of collecting, examining and categorizing different elements. The artist can spend many hours studying an object, while wondering where it came from and what history it has been gone through. These objects then manage to nestle in his subconscious, establishing new connections between obscure stories, tales, legends and myths with forgotten symbolism, which he seamlessly connects to more recent events. His oeuvre does not convey an unambiguous message, but rather weaves meanings that resonate with individual and collective memories whereby a depicted motif reminds us of countless other images. His references do not focus on specific symbols or archetypes and must not be mistaken as unequivocal allusions. In doing so, the artist emphasizes that all things can exist simultaneously and can be displayed as such. This phenomenon is clearly demonstrated in his work Turn the Mud Around, where Demunter makes use of an eclectic range of influences and sources: ranging from the late Middle Ages to the Flemish Primitives as well as the impasto of seventeenth-century artists like Rubens and Jordaens. His artistic affiliations, such as his depiction of landscapes and other scenes of nature in some of his paintings, seem to originate from Italian Renaissance painting and and are reminiscent of the sfumato technique of that period. His imagery extends far beyond classical influences; it is infused with elements of twentieth-century abstract expressionism including artists such as Philip Guston, neo-expressionist Georg Baselitz and Grandma Moses. In addition, Demunter embraces the refinement of Indian miniature art, the splendor of Persian and Indian tapestries, alongside the intimacy of Enclosed Gardens. For this exhibition, Demunter drew inspiration from obscure maps and old books, diving deep into human history in search of handed-down traces of interaction with nature. Rocks are therefore an important theme in his work, and take the form of mountains, rock formations, caves, meteorites, thereby embodying ancient symbolism. The diversity of symbols reveals the deep-rooted human fascination with nature across epochs and cultures. Instead of using maps as merely representational tools, Demunter exploits them as sources that capture the human interaction with the world. Demunter's approach is not limited to visual compositions, but extends far beyond words: each work, whether drawn, painted or written, forms an exploratory journey, which transcends time and space; his images suspend time, as it were. Bram Demunter (b. 1993, Kortrijk) lives and works in Kortrijk, Belgium. Work of the artist can be found in several national and international collections. ?‎

‎MULLER VAN SEVEREN - Frames‎

‎, Tim Van Laere Gallery, 2025 hardcover, 122 pages, Numerous black & white and color illustrations in and outside the text.quadrilingual: English, Dutch, French, Italian. 26-21cm *new ISBN 9789464004328.‎

‎Tim Van Laere Gallery presents Frames, Muller Van Severen's first solo exhibition at the gallery. Over the past 15 years, Muller Van Severen has developed a synergistic body of work that continually explores the boundaries between sculpture and functional object. This exhibition is the first time they present a series of works that are all unique. The exhibition Frames can be seen as a total installation, an all-encompassing universe of form, color, light, reflection and transparency. More than 30 works are brought together in the monumental space of Tim Van Laere Gallery, in which the artist duo searches for the most essential sculptural impact through minimal intervention. For Frames, Muller Van Severen always starts from a single plate, from which openings and depths arise through cutting and folding that not only provide space for functions, but also bridge the gap between reality and imagination. From the flat surface of a plate, a sculpture emerges that moves between abstraction and figuration. With Frames, Muller Van Severen creates a fictional world of images, in which alternative intrinsic meanings and possibilities are expressed, balancing between realism and surrealism.‎