‎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 ‎

‎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 . 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. ?‎

‎Edouard De Jans (1855-1919), Brugs genre- en portretschilder van de Antwerpse School‎

‎Brugge, Van de Wiele 2022 280pp., met 760 illustraties in kleur, 29cm., geïllustreerde hardcover, in nieuwe staat, gewicht: 1.8kg., ISBN 978-90-76297-873, [De Bruggeling Edouard De Jans (1855-1919) behaalt in 1878 de fel gegeerde Prix de Rome met het schilderij Le Retour de lEnfant Prodigue. Na zijn artistieke vorming aan de Brugse en Antwerpse Academies en een langdurig verblijf in Italië, is het dé gedroomde start voor een succesvolle loopbaan. Naast opdrachten en deelnames aan de driejaarlijkse salons en tentoonstellingen van de Cercle dAnvers met historie- en genrestukken, wordt hij de meest gevraagde portretschilder van de Brugse en Antwerpse aristocratie en de gegoede klasse. De Jans inschrijving in de contemporaine canon is echter van korte duur. Hij wordt vergeten door de kunstgeschiedenis die kiest voor kunstenaars met een avant-gardistische signatuur. Deze nooit eerder opgestelde monografie en oeuvre-catalogus van deze verloren zoon geeft tevens een inzicht in de turbulente Belgische kunstscène van het fin de siècle (with a summary in English / avec un sommaire en français)], S113093‎

‎Mens gemeenschap en maatschappij in de toneelletterkunde van Zuid-Nederland 1815-1614 - Een systematische analyse van de thematiek van het realistisch-burgerlijk drama‎

‎, Gent, Koninklijke Vlaamse Academie voor Taal- en Letterkunde, 1973, VI + 417pp.+ enkele buitentekstills., onopengesneden, mooie staat, T11361‎

‎Atlantisch Europa. Frans Van Cauwelaert en de Europese eenmaking‎

‎Leuven, Davidsfonds 1981 149pp., 25cm., linnen band, stofwikkel‎

‎Pieter Bruegel the Elder. Fall of the Rebel Angels. Art, Knowledge and Politics on the Eve of the Dutch Revolt ‎

‎, [IT] Silvana , 2014 Paperback, 240x170mm, 128p, 100 bw and col. illustrations. English edition ISBN 9788836629206.‎

‎Art, Knowledge and Politics on the Eve of the Dutch Revolt Pieter Bruegel the Elder's Fall of the Rebel Angels is the first comprehensive book on one of the most cherished masterpieces of the Royal Museums of Fine Arts of Belgium in Brussels. It argues that with his Fall of the Rebel Angels (1562) Pieter Bruegel (died 1569) turned a traditional devotional theme into an innovative commentary on his own time, and situates the painting within the early modern cultures of knowledge and collecting. More particularly, it exposes that many of the hybrid falling angels are carefully composed of naturalia and artificialia, as they were collected in art and curiosity cabinets of the time. Bruegel's much noted emulation of Jheronymus Bosch was thus only part of his wider interest in collecting, inspecting, and imitating the artistic and natural world around him. This prompts an examination of the world at the time that Bruegel painted the Fall of the Rebel Angels: locally, in the urban and courtly centers of Antwerp and Brussels on the eve of the Dutch revolt, and globally, as the discovery of the New World irreversibly transformed the European perception of art and nature. Painted as a tale of hubris and pride, Bruegel's masterpiece becomes a meditation on the potential and danger of man's pursuit of art, knowledge and politics, a universal theme that has lost nothing of its power today. The lavishly illustrated book is based on extensive research sponsored by the Inter University Attraction Pool project P7/26 'City and Society in the Low Countries (ca. 1200 - ca. 1850)' (Federal Science Policy, Belgium)'. ‎

‎Edgar TINEL. Le recit de sa vie et l'exegese de ses oeuvres de 1854 a 1886.‎

‎Bruxelles, Th. Lombaerts, 1923. grand in-8°, 304 pp., broche, couv. RARE.‎

‎Tres bel exemplaire, non coupe [109B-14] ‎

‎Bruegel et l'hiver, Un dialogue entre historiens et historiens de l'art. ‎

‎, merca, 2018 Couverture reliee sous jaquette,HB, 300 x 240 mm, 352 p, 270 illustrations, Texte en Francais. ISBN 9789462302228.‎

‎Cet ouvrage focalise devoile une exploration profonde et une nouvelle interpretation des tableaux d'hiver de Pieter Bruegel dit l'Ancien. En appliquant des nouvelles approches methodologiques accompagnees d'efforts de recherche interdisciplinaire a ces grands chefs-d'ouvre de l'art Renaissance flamande, y compris Paysage d'hiver avec patineurs et trappe aux oiseaux (1565) et Le Denombrement de Bethleem (1566), ce livre offre un apercu de la relation du peintre avec son temps, et de la mesure dans laquelle ses paysages d'hiver etaient destines a refleter des situations reelles. Apres avoir retrace la facon dont ces peintures ont ete percues et comprises au fil du temps, les essais proposent de nouvelles perspectives sur des questions telles que de savoir si Bruegel illustre la detresse de la population locale, cruellement eprouvee par les mois d'hiver, ou si Le denombrement de Bethleem renvoie au defi historique a la structure du pouvoir central. Abondamment illustre, Tableaux d'hiver de Bruegel est a la fois un examen approfondi et une celebration de ces images largement admirees. Abondamment illustre, Bruegel et l'Hiver est a la fois un examen approfondi et une celebration de ces tableaux d'hiver largement admirees. Sabine van Sprang est curatrice et Tine Luk Meganck est chercheuse, les deux au Musee Royal des Beaux-Arts de Belgique. Eds: Tine Luk Meganck, Sabine Van Sprang. Texts: Tine Luk Meganck, Erik Aerts, Claire Billen, Wim Blockmans, Hilde Cuvelier,‎

‎Wij aan de grens. Geschiedenis van Esschen‎

‎s.l., s.d. [+/- 1937] 102pp.met enkele illustraties + uitvouwbare kaart in moderne kopie, nieuwe omslag, goed, B85425‎

‎Wij aan de grens. Geschiedenis van Esschen‎

‎s.l., s.d. [+/- 1937] 102pp.met enkele illustraties + grote uitvouwbare kaart, originele geïllustreerde omslag, goede staat, B89469‎

‎Rechtdoor. Valeer Claes (1884-1958)‎

‎Antwerpen, Vlaamse Kapucijnen 2000 192pp., met zw/w illustraties, 24cm., gebroch., mooie staat, R63544‎

‎100 jaar Kapucijnen Herentals. 1897 - 1997.‎

‎, Vlaamse Kapucijnen Antwerpen, 1997 Hardcover; 199pp., 30.5x21cm., ills. in z/w., goede staat.‎

‎Kapucijnen Herentals 100 jaar‎

‎Antwerpen, Vlaamse Kapucijnen 1997 199pp., rijkelijk geïllustreerd, 31cm., geïll. uitgeversband, zeer goede staat, B108531‎

‎LA 'TRAHISON' DU ROI DES BELGES, LA VERITE‎

‎Chez l'auteur. 1941. In-8. Broché. Etat d'usage, 1er plat abîmé, Dos abîmé, Intérieur acceptable. 70 pages. Illustré de photos en noir et blanc hors texte. Manques sur le dos. 1er plat détaché.. . . . Classification Dewey : 949.3-Belgique‎

‎Par des documents historiques illustrés de photogravures et carte. Classification Dewey : 949.3-Belgique‎

‎La trahision du roi des belges - la vérité par des documents historiques accompagnés de vues de guerre et d'une carte des opérations.‎

‎Imprimeries Delmas. 1941. In-8. Broché. Etat d'usage, Tâchée, Dos abîmé, Papier jauni. 59 pages - ouvrage illustré de photogravures et d'une carte en noir et blanc hors texte - tâches, déchirures et rousseurs sur les plats - coiffes abîmées.. . . . Classification Dewey : 949.3-Belgique‎

‎ Classification Dewey : 949.3-Belgique‎

‎"La ""Trahison"" du Roi des Belges."‎

‎CHEZ L'AUTEUR. 1941. In-12. Broché. Bon état, Couv. défraîchie, Dos satisfaisant, Intérieur frais. 70 pages. Quelques planches de photos et une carte en noir et blanc hors-texte.. . . . Classification Dewey : 949.3-Belgique‎

‎La Vérité par des documents historiques accompagnés de vues de guerre et d'une carte des opérations. Classification Dewey : 949.3-Belgique‎

‎"La ""Trahison"" du Roi des Belges"‎

‎delmas. 1941. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 70 pages. Quelques illustrations en noir et blanc, hors texte.. . . . Classification Dewey : 949.3-Belgique‎

‎La vérités par des documents histoques. Classification Dewey : 949.3-Belgique‎

‎"La ""trahison"" du Roi des belges"‎

‎Imprimerie Delmas. Non daté. In-8. Broché. Etat d'usage, Couv. légèrement pliée, Dos satisfaisant, Papier jauni. 59 pages augmentées de quelques photos et d'une carte en noir et blanc, hors texte. Quelques pliures.. . . . Classification Dewey : 949.3-Belgique‎

‎ Classification Dewey : 949.3-Belgique‎

‎La trahison du Roi des Belges.‎

‎France, Tirtiaux Albert, 1941 14 x 23, 70 pp., planches en N/B, broché, bon état‎

‎La vérité par des documents historiques illustrés de photogravures et carte, envoi de l'auteur‎

‎La "Trahison" du Roi des Belges.‎

‎Paris, a compte d"Auteur, 1944. in-12, 106 pages, une carte, broche, deux portraits en couverture.‎

‎Bon état. Dos usé. [MI-15] ‎

‎LA TRAHISON DU ROI DES BELGES - LA VERITE‎

‎***. non daté. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 70 pages. Quelque splanche sillustrées en noir et blanc.. . . . Classification Dewey : 949.3-Belgique‎

‎ Classification Dewey : 949.3-Belgique‎