‎Breviari d'amor de Matfre Ermengaud. Tome 1. Introduction‎

‎, Brepols, 2024 Paperback, 304 pages, Size:156 x 234 mm, Illustrations:2 b/w, Language: French. ISBN 9782503519210.‎

‎The Breviari d'Amor dates from 1288 (and was probably completed around 1292), is about 34,500 lines long and written in octosyllabic rhyming couplets. It exists in twelve full or almost full manuscripts and twelve fragments. It is written in Medieval Occitan and is the product in part of a long theological tradition and in part of the courtly tradition. This is the first edition to be published since the two-volume work of Gabriel Aza s (1862-1881), which was of great merit for its time, but used only four of the manuscripts. The numbering of the present edition follows that of Aza s, given the many works which allude to the Breviari. This didactic text has necessarily been labeled as "encyclopaedic" and this is certainly not a matter of dispute, although, in terms of the subject matter, it is very unusual since the emphasis is not only theological but also courtly. It conforms to the general perspective adopted by summae but the particular integration of the theological aspects with the debate on the nature of fin'amor makes it unique. The four volumes (volumes II to V) of the complete text have been already published, each with a selective glossary and bibliography. The present, first volume, is the Introduction. TABLE OF CONTENTS Pr ambule de Cyril Hershon Avant propos de Peter Ricketts Plan du Breviari d?Amor La tradition manuscrite du Breviari d?Amor B ziers au temps de Matfr Matfr Ermengaud Matfr et le Droit Matfr et la tradition encyclop dique Matfr et Raymond Lulle L?Arbre d?Amour L?Arbre de Vie L?appel aux amants Les sciences de Matfr Matfr et les Juifs La satire La th ologie La Vierge Marie L?amour de Dieu et de son prochain et les deux droits Le p ch originel Le je ne Matfr et l?aum ne Appendice : Gabriel Aza s Bibliographie Principaux sigles utilis s Les textes du Breviari tudes sur le Breviari Autres r f rences Index‎

‎De chair et d'âme‎

‎2006, Éditions de Noyelles, in-8 broché | Etat : bon état (Ref.: ref97540)‎

‎éditions de Noyelles‎

‎Parler d'amour au bord du gouffre‎

‎2004, Odile Jacob, in-8 broché, Parler d'amour au bord du gouffre | Etat : bon état (Ref.: ref96319)‎

‎Odile Jacob‎

‎SOUS LE SIGNE DU LIEN - UNE HISTOIRE NATURELLE DE L'ATTACHEMENT - COLLECTION HISTOIRE ET PHILOSOPHIE DES SCIENCES.‎

‎HACHETTE. 1990. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 319 pages .. . . . Classification Dewey : 500-SCIENCES DE LA NATURE ET MATHEMATIQUES‎

‎COLLECTION HISTOIRE ET PHILOSOPHIE DES SCIENCES. Classification Dewey : 500-SCIENCES DE LA NATURE ET MATHEMATIQUES‎

‎Cy Twombly: Vol 4: Unpublished Photographs, 1951-2011‎

‎Munchen, Schirmer/Mosel Verlag, 2013 Hardcover with dustjacket, 180 pages, 33 x 25 cm, fully illustrated. GER/ENG/FR. *fine condition. ISBN 9783829605892.‎

‎As his final creative surprise, Cy Twombly, one of the greatest 20th-century artists, has given to the world a huge body of photographic works emphasizing his unique artistic vision. Contrary to his sharp and teeming drawings his photographs are not sharp at all. They are colorful, soft, and warm and generate a painterly impression. Their coloring is as unique as their fine sense of composition. The photographs reveal the artist's vision embedded both in the world of objects and the nature that surrounds him. His own artistic creations and collection of art objects in his various homes are a favorite subject of his photographic studies. Twombly's photographic work offers a new dimension for understanding the artist's patintings, drawings, and sculptures. The new book features some 120 photographic prints from the Cy Twombly Estate in Gaeta, most of them previously unpublished.‎

‎Cy Twombly: Catalogue Raisonn of Sculpture, Vol. I+II (complete set) ‎

‎Munich, Schirmer / Mosel, 2019 Two volumes, each in their own slipcase, linen binding and dustjacket, 349 + 352 pages, 35 x 26 cm, fully illustrated. English edition. ISBN 3888148758.‎

‎Cy Twombly Catalogue Raisonn of Sculpture Volume I, 1946?1997 Cy Twombly Catalogue Raisonn of Sculpture Vol. I encompasses the period from Twombly?s earliest sculptures to 1997, the date of publication. The introductory text by Arthur Danto, ?Monuments and Metamorphoses: The Sculptures of Cy Twombly,? centers on the transformations and metamorphoses Twombly enacted in producing his sculptures, offering a sustained consideration of the relationship between materiality and content. Danto characterizes Twombly as engaging in ?transformative play? (16), allowing the sculptures to be simultaneously abstract and representational. He also considers Twombly?s use of found objects and refuse, the Platonic and Homeric references in the sculptures, and the relationships between Twombly?s much better-known paintings and the then-rarely exhibited sculptures. Danto argues that the sculptures assume a uniquely significatory role in Twombly?s practice, existing in more legible relationships to Twombly?s beloved myths and historical references than his work in other media through the transformations of readymade materials. This essay is likely to be of particular interest to scholars researching Cycnus (1978), which Danto considers throughout. The entries in this volume of the catalogue raisonn will be of special interest to scholars and students researching Twombly?s recurring sculptural motifs, including panpipes, palm leaves, columns, and carts or chariots. The volume also highlights the many direct connections to his painting practice throughout the same time period, with the same subjects explored in multiple media: e.g., Orpheus serves as a subject of a 1979 sculpture as well as multiple paintings produced in the 1970s, and Twombly?s interest in boats surfaces in sculptures such as Winter?s Passage: Luxor (1985) synchronously with its sustained emergence in his paintings. Though his use of white to ?unify? his sculptures?as Danto and others term it?is prevalent throughout, this volume also meticulously catalogues Twombly?s use of polychromy. This ranges from small traces on otherwise-white sculptures to other relatively unknown but exceptionally vibrant works. His engagements with both Greco-Roman antiquity?especially Homer?and Egyptian mythology are prevalent throughout. Eight entries of sculptures completed before 1950 also offer a rare glimpse into Twombly?s early practice. The catalogue raisonn is an indispensable specialist resource for students and scholars researching any of these core features of Twombly?s practice. This volume is also particularly useful to those focusing on the artist?s time in Rome, Bassano in Teverina, Gaeta, and Jupiter Island, Florida; those focused on the artist?s time in Lexington, VA should primarily reference vol. II. For further reading, Kate Nesin?s Cy Twombly?s Things (2014) provides a foundational account of the sculptures and their materiality; the catalogues raisonn s and Nesin?s text together provide a vital orientation for scholars researching any component of Twombly?s sculptural practice. Achim Hochd rfer?s Cy Twombly: Das Skulpturale Werk (2001) also offers a detailed and productive account of the sculptures. Cy Twombly Catalogue Raisonn of Sculpture Volume II, 1998?2011 Cy Twombly Catalogue Raisonn of Sculpture Vol. II includes sculptures produced from 1998 until the artist?s passing in 2011. The introductory text by Nicola Del Roscio offers a vital account of the sculptures ?based, not just on curatorial or statistical facts, but on what Cy said about his works and circumstances, memories and experiences that infused their meaning? (7). Del Roscio also explores the connections between Twombly?s sculptures and his works in other media (e.g., photography) and references embedded in the sculptures (e.g., the Gaeta skyline) that might otherwise be opaque to those without similar firsthand knowledge of Twombly?s practice. The connections Twombly drew between his sculptures and nature, as well as his working practices in producing them (?practical, immediate, and of a pitiful brutality? [13]) are addressed throughout. This later set of sculptures includes rare instances of fully polychromatic sculptures without any white paint (e.g., Turkish Delight, 2000), many of which reflect a major thematic concern with Middle Eastern references present throughout the later sculptures. These are contextualized alongside the more austere white sculptures for which Twombly is best known. Though primarily of interest to researchers interested in the sculptures themselves, this volume also provides many vital connections to other aspects of Twombly?s practice. See e.g., the entry for Untitled (2001, cat. no. 43), which notes that ?the colored paper tissues [used in the sculpture] are leftovers the artist used to dry the paint during the production of his series Lepanto? (100). Despite consistent returns to funerary themes, many of the sculptures are lighthearted and witty, embodying what Danto calls ?a pervasive spirit of play? (15) in his introduction to Vol. I. The catalogue includes exceptional sections of particular interest, including a selection of tombstones the artist designed for close friends?echoing the funerary themes present throughout many of the sculptures?and a selection of rejected and unfinished sculptures, both of which will be of interest to researchers focusing on the artist?s process. This catalogue will also be helpful for scholars researching Twombly?s time in Lexington, Virginia and Pfaffikon, Switzerland, where many of these sculptures were produced. Many sculptures in both Vols. I and II were produced in Twombly?s residences in Italy as well (note, however, that most in Vol. II were produced in Gaeta rather than Rome or Bassano in Teverina). Vol. II also includes biographical notes, lists of one person exhibitions, one person exhibition catalogues, group exhibitions, group exhibition catalogues, monographs, and general literature (until 2019). As with volume I, this is an indispensable reference for students and scholars working on the sculptures or on any of their thematic and material connections to the rest of Twombly?s practice. For further reading, see Kate Nesin?s Cy Twombly?s Things (2014), a foundational account of the sculptures and their materiality. The catalogues raisonn s and Nesin?s text together provide a vital orientation for scholars researching any component of Twombly?s sculptural practice. Achim Hochd rfer?s Cy Twombly: Das Skulpturale Werk (2001) also offers a detailed and productive account of the sculptures.‎

‎Cy Twombly: Photographs III 1951?2010‎

‎Munich, Schirmer/Mosel, 2011 Hardcover with dustjacket, 180 pages, 107 colour plates. English/French/German edition. *Fine condition. ISBN 9783829605373.‎

‎This volume includes Hubertus V. Amelunxen?s ?Schenkst der Rose Scweigen Ein,? published in German as well as English and French (?Do Not Interrupt This Rose,? ?Cette Rose Ne l?Interromps??), color plates, and a list of works exhibited. In his essay, Amelunxen asserts that the photographs are ?grounded in the art of light? With photography, Cy Twombly is seeing in another time. Seeing and Not-Seeing search for each other in the photographs in a manner distinct from his paintings and drawings? (170). Drawing on Roland Barthes, he considers the extent to which the composition of the photographs is deliberately mediated and manipulated by the artist. Amelunxen discusses a 1944 photograph of Twombly in Ogunquit, Maine at length. Returning to photographs taken by Twombly, he argues that ?[n]othing could be more anaethema to Cy Twombly than using an image to illustrate, to refer to other things; (almost) none of the references are in the paintings or drawing that deviated from the picture of his own signs or what was written? (171). He extends this reading to the photographs, finding them essentially immediate transmissions. Addressing Twombly?s earliest photographs in the 1950s, Amelunxen draws connections to the ?intellectual climate? (172) produced by figures such as Charles Olson and D.T. Suzuki. Traversing the breadth of Twombly?s photographic practice, Amelunxen maintains that ?[c]onsistently, the relation between visibility and invisibility manifests itself, approaching, in dialogue with Merleau-Ponty, the Not-Visible within the Visible? (173). He concludes with a repeated assertion of the photographs as conveying ?immediacy [and] vulnerability? (175). For more on Twombly?s photographs, see also From State of Mind to the Tangible: The Photographic Cosmos of Cy Twombly by Carlos Peris (2022); Cy Twombly: Photographs, Volume II, published by Gagosian (2015); Cy Twombly: Photographs 1951?2007, ed. Laszlo Glozer (2008); Twombly: Photographs, published by Brazos Projects (2000); Cy Twombly Photographs: Lyrical Variations, published by the Kawamura Memorial DIC Museum of Art (2016); Cy Twombly: Photographs, published by Matthew Marks Gallery (1993); Cy Twombly: A Survey of Photographs 1954?2011, published by Gagosian Gallery (2012); and Cy Twombly: Photographs, 1951?1999, ed. Nicola Del Roscio (2002). (Publication description by Jamie Danis)‎

‎Cy Twombly: Catalogue Raisonn of Drawings, Vol. 1 - 8 (complete set) ‎

‎Munchen, Schirmer/Mosel, 2011 8 Volumes in slipcase, each in linen binding and illustrated dustjacket, 25.5 x 35 cm, Fully illustrated. English edition. *Fine condition.‎

‎Cy Twombly Catalogue Raisonn of Drawings Vol. 1, 1951?1955 Cy Twombly Catalogue Raisonn of Drawings Volume 2, 1956 - 1960 Cy Twombly Catalogue Raisonn of Drawings Volume 3, 1961?1963 Cy Twombly Catalogue Raisonn of Drawings Volume 4, 1964?1969 Cy Twombly Catalogue Raisonn of Drawings Volume 5, 1970?1971 Cy Twombly Catalogue Raisonn of Drawings Volume 6, 1972?1979 Cy Twombly Catalogue Raisonn of Drawings Volume 7, 1980?1989 Cy Twombly Catalogue Raisonn of Drawings Volume 8, 1990?2011. Cy Twombly Catalogue Raisonn of Drawings Vol. 1 includes works on paper produced between 1951 and 1955. It includes several works on paper that the artist produced in Lexington, VA between 1951 and 1952 which will be of particular interest to scholars focused on his early practice. It also catalogues entries from early sketchbooks as well as his famed North African Sketchbooks (1953). It is an indispensable resource for scholars writing about either the sketchbooks themselves or their substantive connections to subsequent paintings, as the sketchbooks are reproduced here in their entirety. The volume also includes Study for Tiznit (1953), a preliminary for one of Twombly?s more frequently exhibited early paintings, and sketches completed in Augusta, Georgia while Twombly was stationed there during his brief military service. The latter will be of particular interest to those writing about Twombly?s line and his idiosyncratic hand, as this was the method through which he later reported developing his signature childlike (but never childish) scrawl. The volume also includes a large set of drawings the artist reportedly intended to publish as an album, though this project never came to fruition. It will be of interest to scholars researching Twombly?s printmaking practice as well, as there are numerous formal resemblances to his later prints throughout; see Cy Twombly Catalogue Raisonn of Printed Graphic Work 1953?2002, ed. Heiner Bastian. Those researching the North African Sketchbooks might also consult Anne-Grit Becker?s ?Marks and Material in Cy Twombly's North African Sketchbooks? (2017) and Cycles and Seasons, ed. Nicholas Serota (2008). The relationship between early paintings and drawings is discussed in Carol A. Nigro?s ?Cy Twombly?s Humanist Upbringing? (2008). For more on early works, including those produced at Black Mountain College, primary sources are gathered and reproduced in Writings on Cy Twombly, ed. Nicola del Roscio (2002). Those interested in Twombly?s line and the ?unlearning? of his hand, as well as later iterations like the ?blackboard? paintings, should consult Roland Barthes?s classic text ?The Wisdom of Art? (1979) as well as the catalogue in which it originally appeared, Cy Twombly: Paintings and Drawings 1954?1977. The Gagosian Gallery catalogue In Beauty it is finished: Drawings 1951?2008 (2018) also includes relevant material, as does Cy Twombly at the Hermitage: Fifty Years of Works on Paper, ed. Julie Sylvester (2008). There are also many connections to the sculptures, especially via the North African Sketchbooks, on which see Kate Nesin, Cy Twombly?s Things (2014). (Publication description by Jamie Danis)‎

‎Regards sur la symbolique de la Toison d'Or. Préface par Otto de Habsbourg. Les éditions du bien public. 1990.‎

‎1 volume in-8° broché, couverture illustrée, 97 p. - Illustrations. Très bon état. ‎

‎Histoire de l'Académie royale des sciences. Année 1736‎

‎Chez Pierre Mortier | A Amsterdam 1740 | 10 x 17 cm | 2 volumes reliés‎

‎Edition illustrée de 10 planches pour le tome 1, 23 pour le tome 2, la plupart dépliantes, soit 33 planches. Pages de titre en rouge et noir. Un frontispice allégorique et une vignette de titre dans le tome 1. Reliure en plein veau brun marbré d'époque. Dos à nerfs orné. Pièces de titre en maroquin rouge, et de tomaison à la cire noire. Frottements. 2 coins émoussés. Le premier feuillet de la dédicace semble manquant ; le texte de la dédicace est complet, mais sans page d'épitre. Bel exemplaire. On retiendra dans chacune des sections mentionnées les articles remarquables suivants : Solution pour quelques problèmes de dynamique, par M. Clairaut. Méthode de trouver la hauteur du pole, & la déclinaison des étoiles qui n'est pas sujette à la réfraction, par M. Maraldi. Des précautions que l'on doit prendre pour observer le plus exactement possible, les hauteurs des étoiles, par M. Cassini de Thury. De la manière de concilier dans l'hypothèse des tourbillons les deux règles de Kepler, par M. Cassini. Résolution d'une question astronomique, utile à la navigation, par M. Pitot. Sur la figure de la terre, par M. de Maupertuis. Sur la perpendiculaire à la méridienne de l'observatoire à la distance de 60000 toises vers le nord, par M. Cassini de Thury. Méthode pour trouver la déclinaison des étoiles, par M. de Maupertuis. De la manière de déterminer la figure de la terre par la mesure des degrés de latitude et de longitude, par M. Bouguer. - Photographies et détails sur www.Edition-Originale.com -‎

‎La psychogénéalogie‎

‎2018, Amyris, in-8 broché, comprendre sa famille et décider d'être soi | Etat : bon état (Ref.: ref97851)‎

‎Amyris‎

‎Klaus Verscheure - Black is a Color‎

‎, Stockmans - Devos , 2017 Hardcover 280 pages 23,5 x 30,5 cm. Text NL / ENG. ISBN 9789077207598.‎

‎Kunstenaars hebben al eeuwenlang aandacht besteed aan dood en vergankelijkheid, maar ook aan het lijden en het veroorzaken daarvan door rechtspraak en marteling, oorlog en wreedheid. De bomen die hij schildert zijn niet zomaar het onderwerp omwille van hun picturale en pittoreske betekenis. De berglandschappen zijn er niet om het landschap en de woningen niet om hun architecturale pretenties, hij schildert ze om wat er niet meer is. Afwezigheid speelt een grote rol. Aan de bomen hebben ooit mensen gehangen, meestal na een lynchpartij. De huizen, of het nu riante villa?s zijn, modernistisch of romantisch aandoende stulpjes, zijn elk sc ne geweest voor een misdaad. Geweld is een blijvend gegeven in het werk van deze nochtans vreedzame kunstenaar. Hoe onschuldig zijn titels ook mogen klinken, de kijker mag zich steeds verwachten aan een of andere dreiging. Zijn reeks ?Smiling Faces? toont de gezichten van misdadigers, gebaseerd op zogenaamde mug shots, de foto?s die de politie van delinquenten maakt. Daan Rau Lege landschappen met verdwaalde bomen; verlaten bergpanorama?s; suburban huizen zonder spoor van leven; koude, afwezige mug shots; cartooneske schetsen van geboeide mensen; fragmenten van gezichten van slachtoffers... De schilderijen die Klaus Verscheure maakt, roepen steeds weer dezelfde vraag op: ?Waarom toont de kunstenaar dit (lege) beeld, wat gebeurt er hier?? Een vraag zonder antwoord, want er gebeurt op het afgebeelde moment inderdaad niets. Luc Depuydt ‎

‎Bruegel and Beyond Netherlandish Drawings in the Royal Library of Belgium, 1500-1800.‎

‎, Hannibal Books, 2022 Hardcover, 305 x 240 mm, 392 pages, Fine!, ENG edition . ISBN 9789464366389.‎

‎Awe-inspiring reference work on the Flemish and Dutch art of drawing from the sixteenth to the eighteenth century, with masterly drawings from the collection of the Royal Library of Belgium (KBR). The Royal Library of Belgium in Brussels houses the largest collection of drawings in the country. Among its highlights are works by leading artists of the Low Countries, including Pieter Bruegel I, Joris Hoefnagel, Hendrick Goltzius, Peter Paul Rubens, Anthony van Dyck, and Jacques Jordaens. As the library's collection has been little studied up to now, it is largely unknown to scholars and the general public. To acquaint a wider audience with these important works of art, this richly illustrated publication brings together for the first time over one hundred master drawings from the Royal Library's vaults. Not only new art-historical insights are presented, but also numerous rediscovered drawings and revised attributions to artists such as Maarten van Heemskerck and Karel van Mander. This carefully researched book, written by thirty specialists in the field, aims to make a significant contribution to our knowledge of the history of Netherlandish drawing from the sixteenth to the eighteenth centuries. Daan van Heesch is Head of Prints and Drawings at the Royal Library of Belgium. Sarah Van Ooteghem is an independent art historian. Between 2012 and 2018, she was Assistant Curator of Drawings at the Royal Library of Belgium. Joris Van Grieken is Curator of Prints and Drawings at the Royal Library of Belgium.‎

‎Cortes del BARROCO : de Bernini y Vel zquez a Luca Giordano : Palacio Real de Madrid, Palacio Real de Aranjuez, 15 de octubre de 2003-11 de enero de 2004‎

‎, Les Punxes, 2003 Softcover, 395 paginas , Spanish, 290 x 240 x 30 mm, Nuevo !, ilustraciones de color y b/n ISBN 9788496008380.‎

‎ El Barroco representa el apogeo tanto de la pintura como de todas las dem s artes, tambi n conocido como el Siglo de Oro. La pintura barroca en Espa a se caracteriza por los bodegones o retratos, con un hermoso equipo de pintores. Su m ximo exponente fue el maestro Diego de Silva y Vel zquez, genio de la luz y la oscuridad y el mayor retratista del periodo barroco, considerado actualmente uno de los mejores pintores de su poca y de todos los tiempos.‎

‎Rapport historique sur le progrès de l'histoire et de la littérature ancienne depuis 1789 et sur leur état actuel. Imprimé par ordre de sa Majesté.‎

‎ Petit in-4, demi-basane à petits coins de l'époque, dos lisse orné, x, 355 p. Paris, Imprimerie Impériale, 1810.‎

‎Edition originale. Rapport officiel présenté à l'empereur au Conseil d'État (1808).Bon exemplaire. ‎

‎Synthèse des systèmes logiques. Préface de J. Csech.‎

‎ Toulouse (Collection "Sup Aero"), Cepadues Editions, 1976, in 8° broché, VII-224 pages. ‎

‎PHOTOS sur DEMANDE. ...................... Photos sur demande .......................... ‎

‎Voyage Rome. Les Artistes Europ ens au XVI si cle‎

‎Bruxelles, Fonds Mercator, 2012 Couverture reliee sous jaquette, 255 x 285mm;, 264pp., 250 illustrations en couleur. neuf. ISBN 9789061537076.‎

‎D s le d but du XVIe si cle, Rome a t le p le d'attraction des artistes dans l'Europe enti re. D'Espagne, des anciens Pays-Bas, de France, ils accouraient pour s'emparer de la culture qui s'y tait impos e. De m me qu'aujourd'hui les jeunes se rendent en Angleterre ou aux tats-Unis pour am liorer leur anglais, ils venaient apprendre parler italien dans leurs oeuvres - surtout en peinture. Leur formation n' tait pas compl te sans le voyage. Ils copiaient les antiques, tudiaient les ma tres, cherchaient entrer dans les ateliers - o leur pr sence a t rarement d tect e jusqu'ici - et, parfois, d crochaient des commandes. Alonso Berruguete, le grand sculpteur de Castille, et Pedro Machuca, qui fit b tir Grenade le palais de Charles Quint dans l'Alhambra des Maures, ont longtemps collabor avec Rapha l avant de regagner leur pays. Le Flamand Michel Coxcie a ex cut une chapelle fresque en partant des projets qu'en avait laiss s Sebastiano del Piombo. Perin del Vaga est descendu dans les grottes de la Domus Aurea de N ron en compagnie d'un paysagiste flamand, qui a t son aide. Vasari mentionne parmi ses collaborateurs la salle des Cent jours Pedro de Rubiales, qui laissera un chef-d'oeuvre Naples pour le vice-roi, et Gaspar Becerra, qui entrera au service de Philippe II. Dans les palais romains sont intervenus des peintres tels qu'Antoine Caron, qui travaillera la cour de Catherine de M dicis et de Henri II, Marten de Vos, qui dirigera le premier atelier d'Anvers, et Navarrete, el Mudo , que Philippe II chargera de nombreuses toiles l'Escurial. M me Pieter Bruegel a fait le voyage - tout en tournant le dos aux antiques et aux ma tres pour regarder seulement la nature. Lorsque, dans les ann es soixante-dix, la belle mani re italienne brille Rome de ses derniers feux, parmi les protagonistes figurent le Bruxellois Hans Speckaert, qui s'y teindra encore jeune, l'Anversois Bartholom us Spranger, qui partira s'installer Prague, chez Rodolphe II, et le jeune Candiote qui s' tait vant de pouvoir refaire le Jugement dernier la chapelle Sixtine et qui deviendra en Espagne el Greco . l'aube du nouveau si cle, les Flamands formaient Rome une nombreuse colonie, dont une foule de paysagistes, quand y descendit le Francfortois Adam Elsheimer et qu'y s journa Rubens, ouvrant la voie au baroque.‎

‎LA PROPYLAMINE LA TRIMETHYLAMINE ET LEURS SELS - ETUDES AU POINT DE VUE PHARMACOLOGIQUE ET THERAPEUTIQUE‎

‎DOIN OCTAVE / FERET & FILS. 1879. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 130 pages. . . . Classification Dewey : 500-SCIENCES DE LA NATURE ET MATHEMATIQUES‎

‎ Classification Dewey : 500-SCIENCES DE LA NATURE ET MATHEMATIQUES‎

‎RECUEIL DE PROBLEMES DE CALCUL DES PROBAILITES.‎

‎MASSON. 1965. In-4. Broché. Etat d'usage, Couv. légèrement passée, Dos satisfaisant, Intérieur frais. 194 pages.. . . . Classification Dewey : 500-SCIENCES DE LA NATURE ET MATHEMATIQUES‎

‎ Classification Dewey : 500-SCIENCES DE LA NATURE ET MATHEMATIQUES‎

‎Principios Mathematicos.‎

‎Reproduçao fac-simile da ediçao publicada em Lisboa em 1790, tiragem especial de duzentos exemplares, numerados em papel Vergê, signé par le préfacier José Alberto da Gama Fernandes de Carvalho, 1 vol. in-8 relié plein cuir bleu, dos à 4 nerfs orné, reliure signé Jose Ferreira, Departamento de Matematica, Faculdade de Ciencias e Tecnologia, Universidade de Coimbra, 1987, XXII-315 pp. et planches dépliantes‎

5 Images

‎Exemplaire sur papier vergé numéroté. Beau fac-similé des "Principios Mathematicos" de José Anastasio da Cunha. Provenance : de la bibliothèque du mathématicien français René Thom‎

‎Van Waelhem tot Walem : historiek van een kleine gemeente met een groot verleden‎

‎, Walem : Heemkundige Kring Dr. Croquet v.z.w. , 2005, 2005 Gebonden, Hardcover 368 PAG. met veel illustraties/w. prima staat.‎

‎Van Waelhem tot Walem : historiek van een kleine gemeente met een groot verleden‎

‎Jan Desmarets. SIGNED.‎

‎sint Martens Latem, Guy Pieters Gallery, 2003 Gebonden, geel linnen met orig. stofslag, 264pp., 21.5x21.5cm., doorlopend geillustr. in kleur.‎

‎**Met opdracht en gesigneerd door de kunstenaar‎

‎Op-Sinjoorke en zijn kornuiten De Lotgevallen van Opsinjoorke.‎

‎, Lier : N.V. Jozef Van In & C , 1960, Oorspronkelijk uitgevers omslag, 45 pagina's met illustraties., tweede druk.‎

‎Titel varieert: De lotgevallen van Op-Sinjoorke Deel van Kleine belfort-reeks. - Lier; vol. 1960: 2‎

‎Birde Vanheerswynghels A Glimpse Is All I Need‎

‎, Posture Editions Nr 54, 2023 HB, 297 x 210 mm, 144 pages, ENG-NL edition. ISBN 9789491262593.‎

‎Birde Vanheerswynghels (b. 1986) is best recognized for her monumental charcoal drawings of semi-imaginary, lush plant worlds. She based these mostly on historical documentation and stories of European ?explorers? but eventually went on a virtual journey herself to create new, fictional images. Since 2020, Birde has been working on a series of portraits of her ?chosen queer family?. The characters in the works are not portraits in the sense that they are made after life, but are based on photographs, a colour, a movement or a gesture. Initially Birde created her portraits in charcoal or green pigment on paper, but in 2022 she made the move to work with oil on canvas. The book ?A Glimpse is all I need? brings together a nice selection of works from these last 10 years and includes a thoughtful text by Dagmar Dirkx, especially written for the book. **** Birde Vanheerswynghels ( 1986) studeerde vrije grafiek aan LUCA School Of Arts Gent en was laureaat van het HISK in 2014. Birdes werk bevindt zich in de collectie van de Vlaamse Gemeenschap, zowel in het S.M.A.K. als in het M HKA, en ook in priv collecties in Belgi , Nederland, Duitsland, de VS en Zuid-Afrika. Birde verwierf vooral bekendheid met haar monumentale houtskooltekeningen van semi-imaginaire, weelderige plantenwerelden. Daarin richtte ze zich op de historische context van de botanische tuinen. In haar werk worden bomen, planten, dieren en waterpartijen deel van asymmetrische composities, een universum bestaande uit ellipsen en constructievormen en kleuren. Ze baseert zich op historische documentatie en verhalen van Europese 'ontdekkingsreizigers', maar maakt ook de link naar Google Earth en gaat zelf virtueel op reis om op basis van haar visueel geheugen en verbeelding nieuwe, fictieve beelden te cre ren. Sinds 2020 werkt ze aan een reeks beelden die ontstaan vanuit een urgent gevoel om iets te zeggen over de wereld en de tijd waarin we leven, een reeks portretten van personen die het beeld van androgyne schoonheid nastreven. Deze ommekeer houdt verband met Birdes ontmoetingen binnen de queer community, een gemeenschap die haar na aan het hart ligt en waarin relaties vaak verstrengelen tot familiebanden. In plaats van mensen te vervoeren naar een andere wereld, wil ze in de wereld staan en iets zeggen over (haar) wereld en de tijd waarin we leven. Birde kiest ervoor om de portretten te schilderen met olieverf op linnen, waarmee ze vasthoudt aan een eeuwenoude traditie die de materialiteit en het vermogen van de schilderkunst verkent om beelden te cre ren die verder gaan dan tijd en ruimte. De personages in de werken zijn geen portretten in die zin dat ze naar het leven zijn gemaakt. De motieven in haar schilderijen kunnen gebaseerd zijn op foto's, een kleur, een beweging of een gebaar. Rustende, observerende, af en toe dansende lichamen zijn terugkerende onderwerpen. Personages komen soms terug in meerdere sc nes en voeren intieme gesprekken met andere figuren. Hiermee zoekt Birde wederom naar een fictieve, visuele realiteit en probeert te komen tot een universeel beeld.‎

‎Spectacle for a Spanish Princess. The Festive Entry of Joanna of Castile into Brussels (1496)‎

‎, Brepols, 2024 Hardback, 440 pages, Size:178 x 254 mm, Illustrations:240 col., Language: English. ISBN 9782503594439.‎

‎Summary On the evening of 9 December 1496, Princess Joanna, Infanta of Castile, reaches the outskirts of Brussels where a procession of secular and ecclesiastical dignitaries welcomes her. After having been married to Philip the Fair in Lier, Joanna travelled to Brussels by herself. Equipped with torches and processional crosses, the citizens accompany her all the way to the heart of the city, the large market square with its magnificent town hall. The Berlin manuscript 78 D5 is the first illustrated report of an entry concentrating on one single lady. The manuscript is a treasure to all those interested in urban culture of the Early Modern period. The author of the festival booklet compares the well-lit city with the splendours of Troy and Carthage. Twenty-eight stage sets, or Tableaux Vivants, and an elaborate procession mirror the costly intellectual program presented to the sixteen-year-old princess. The carefully planned theatrical productions underscore themes of marriage, female virtues and the politics of war and peace. The program includes entertainments, soundscapes, and pyrotechnic amusements. The Latin texts are made available in English translation. The entire manuscript, with its sixty-three folios, is reproduced in colour. Eleven leading scholars present their new findings on this spectacular entry from an interdisciplinary approach. TABLE OF CONTENTS List of Illustrations List of Contributors Acknowledgements 1. Introduction. A Spectacle for a Spanish Princess (Dagmar Eichberger) 2. Joanna of Castile's first Residence in the Low Countries (1496-1501): the Transformation of a Trast mara Princess (Raymond Fagel) 3. Joanna, Infanta of Castile and Habsburg Archduchess. Recreating a Lost Wardrobe and Trousseau in 1496 (Annemarie Jordan Gschwend) 4. The Self-representation of Brussels in Times of Uncertainty (Claire Billen & Chlo Deligne) 5. 'In unam pacis accordantiam'. The Role of City Poet Jan Smeken and other Rhetoricians in Organizing the Brussels Entry (Remco Sleiderink and Amber Souleymane) 6. Role Models for a Queen?s Daughter (Wim Blockmans) 7. Arguing with the Old Testament. Moral and Political Lessons for Princess Joanna of Castile (Dagmar Eichberger) 8. 'Pour esmouvoir les cuers et coraiges des hommes a Joye et Recreation:' the Entry of Joanna of Castile as Entertainment (Laura Weigert) 9. The Brussels Town Hall. A Worthy Emblem for a Capital City (Sascha K hl) 10. Illustrating Contemporary Events in Watercolour on Paper. The Entry of Joanna of Castile as an Example for a new Genre of Memorial Books (Anne-Marie Legar ) 11. Ms 78 D5. A Codicological Description (Dagmar Eichberger) 12. Ms 78 D5. Short Descriptions of the Miniatures (Helga Kaiser-Minn) 13. Ms 78 D5. The Latin Text: Transcription and Translation (Verena Demoed) 14. Ms 78 D5 (fols 1r - 63v). Reproduction of Text and Images 15. Bibliography 16. Keywords‎