Peinture

[020's] LIOX

Dessin original, aquarelle et encre de chine sur papier Canson à grain. 2023. Dim: 360 x 480 mm.

LIOX est un artiste contemporain, né en 1963 à Créteil. Ce dessin pourrait avoir été présenté à une exposition sur MARIANNE à la mairie du 5e dont le sujet était la MARIANNE.

Librairie Michaël Seksik

Paris, France

2 PEINTURES ÉROTIQUES CHINOISES.

Peintures sur tissu avec des scènes érotiques sculptées en bas-relief d'os ou d'ivoire peint. Qq. accidents aux sculptures (1pied manque).

Librairie du Manoir de Pron

Montigny sur Canne, France

A. Boppe

1911. Paris éditions Hachette 1911 - Broché 12 cm x 19 cm 231 pages - Texte de A. Boppe - Bon état - Essai de catalogue des tableaux et dessins faits en Turquie au XVIIIe siècle

A. Chatelet, N. Goetghebeur;

Turnhout, Brepols, 2006 Hardback, 255 pages ., 215 x 280 mm. ISBN 9782870330135.

Le Musee des Beaux-Arts de Lille possede une interessante collection de Primitifs flamands. Albert Chatelet, conservateur honoraire du musee et professeur emerite a l'universite Marc-Bloch de Strasbourg, assiste de Nicole Goetghebeur restauratrice en chef honoraire a l'Institut royal du Patrimoine artistique a Bruxelles, a entrepris l'etude rigoureuse des dix-neuf tableaux constituant cet ensemble. Le Paradis terrestre et l'Enfer de Dirk Bouts font l'objet d'un dernier etat de la question. De nouvelles prises de vues ont ete realisees a cette occasion et des documents techniques inedits emaillent l'abondante illustration photographique. On releve egalement l'analyse des portraits de Louis de Quarre et Barbe de Cruysinck et du Triptyque de la Vierge et l'Enfant, deux oeuvres appartenant au groupe du Maitre au feuillage en broderie, un artiste enigmatique dont la personnalite a ete recemment mise en relief par une exposition dans ce meme musee. Le Concert dans l'oeuf d'apres Jerome Bosch, le Portrait de Philippe le Bon de l'entourage de Rogier van der Weyden et des tableaux du Maitre au brocart d'or, du Maitre de 1499, du Maitre de la Famille de sainte Anne et de divers anonymes completent cet ensemble. Languages: French.

ERIK TONEN BOOKS

Antwerpen, Belgique

A cura di Giovanna Giacobello Bernard

Umberto Allemandi & C., Torino/Londra/Venezia/New York, 2003. In-12, broché sous couverture illustrée en couleur, 79 pp. L'occhio del publico sulle grandi collezioni della Biblioteca Reale, Giovanna Giacobello Bernard - Intorno a due capolavori, Enrica Pagella - Sommario : Sezione Prima : I capolavori. - Sezione Seconda : Arte fiamminga e franco-fiamminga del museo Civico e della ...

Avec 31 planches en couleur. --- Plus d'informations sur le site archivesdunord.com

Archives du nord - Librairie ancienne et moderne

A. DEVOS.

, Brussel, Paleis der Academien, 1998., softcover, originele uitgeversomslag, 18x26cm, 221 p., 17 afb. nederlands / ISBN 9789065696809.

Verhandelingen van de Koninklijke Vlaamse Academie voor Wetenschappen, Letteren en Schone Kunsten van Belgie. Klasse der Schone kunsten, n? 65. Jacob Franquart was een Brabantse kunstenaar. Franquart genoot een korte opleiding van Peter Paul Rubens. Hij beoefende zowel de schilder-, teken-, dicht- als bouwkunst.

ERIK TONEN BOOKS

Antwerpen, Belgique

A. Frolow

1954 E. de Boccard éditeur feuilles sous chemises. bon état.

Présentation de 13p + 94 planches noir et blanc.

A. Genevay

En frontispice, portrait de Le Brun par Largillière, 100 gravures dans et hors-texte, table des gravures, table des matières. vol folio, 33x26, demi cuir, très bel état, 258pp. Paris, Jules Rouam, 1886

Livres anciens & Autographes

A.-H. Allirot;

Turnhout, Brepols, 2011 Paperback, 630 p., 55 colour ill., 156 x 234 mm. ISBN 9782503535944.

Voici une histoire du sang royal au feminin. De 1270 a la fin du XIVe siecle, le statut des princesses royales en France est en cours de normalisation. Les filles du roi sont progressivement exclues du trone, des apanages et de la pairie. Mais la canonisation de Louis IX et la valorisation du lignage royal renforcent leur prestige. Elles obtiennent, sinon un patrimoine, du moins un rang specifique et la reconnaissance d?une qualite. Voici une histoire du sang royal au feminin. De 1270 a la fin du XIVe siecle, le statut des princesses royales en France est en cours de normalisation. Les filles du roi sont progressivement exclues du trone, des apanages et de la pairie. Mais la canonisation de Louis IX et la valorisation du lignage royal renforcent leur prestige. Elles obtiennent, sinon un patrimoine, du moins un rang specifique et la reconnaissance d?une qualite. Elles ont aussi un role important dans la construction de la memoire de saint Louis et dans la diffusion de son culte. Au cours de cette periode, la conscience dynastique passe par une celebration des rois defunts, mais aussi de leurs parents, hommes et femmes. C?est un domaine dans lequel la presence feminine est acceptee aux cotes de celle des princes, du fait des liens etroits entre les parentes du roi et le sacre. Languages : French.

ERIK TONEN BOOKS

Antwerpen, Belgique

A.-H. Martinie

Paris. 13 cm x 16 5 cm. 1929. Broché. 63 pages. Paris Librairie Gallimard collection Les Peintres Français Nouveaux 1929 e.o. tirage numéroté à 215 exemplaires (n°197) sur papier pur fil Lafuma. Broché 13 cm x 16 5 cm 63 pages 26 illustrations noir & blanc dont 24 hors-texte sur beau papier couché portrait de l'auteur en frontispice sur chine. Texte de A.-H. Martinie biographie opinions bibliographie expositions portrait gravé par G. Aubert bois gravé de couverture de Galanis. Bon état

A. HUGON

EYROLLES. 1956. In-8. Broché. Etat d'usage, Couv. légèrement passée, Dos plié, Intérieur frais. 271 pages.. . . . Classification Dewey : 698-Finitions (peintures, papiers peints, ...)

Classification Dewey : 698-Finitions (peintures, papiers peints, ...)

Le-livre.fr / Le Village du Livre

Sablons, France

A. Janssens de Bisthoven;

Turnhout, Brepols, 1983 Hardback, 244 p., + 248 pl., 230 x 290 mm. ISBN 13010011100.

Languages: French.

ERIK TONEN BOOKS

Antwerpen, Belgique

A. Janssens de Bisthoven;

Turnhout, Brepols, 1981 Hardback, 244 p., + 248 pl., 230 x 290 mm. ISBN 13010010100.

Languages: Dutch.

ERIK TONEN BOOKS

Antwerpen, Belgique

A LE BRUCHEC / J TANGUY

1999 Liv Éditions Couverture souple Le Faouet 1999 Le Faouet , Liv éditions, 1999 .In4° broché , 127 pp .Long envoi de A Le Bruchec.Une pliure sur la couverture, sinon état neuf.

Nord - Sud

Kervignac, France

A.M. As-Vijvers;

Turnhout, Brepols, 2012 Hardback, 250 pages., 150 b/w ill. + 32 colour ill., 210 x 297 mm. ISBN 9782503516844.

The subject of the present publication is the working practices of the Ghent-Bruges illuminators, active in Flanders in the decades around 1500. Its focus is on manuscripts featuring freestanding, isolated motifs painted in the margins of text pages. The author traces how this decorative system was created by the Master of the David Scenes in the Grimani Breviary, a prolific inventor of appealing borders; how it was applied by his closest collaborators, and how it was imitated and adapted by other illuminators. Among these were Simon Bening, the Carmelite sister Cornelia van Wulfschkercke, and a number of anonymous masters, including several whose oeuvres are identified here for the first time. The author elucidates the sources for the isolated motifs and demonstrates how the codicological structure of the manuscripts provides insight into the use and the dispersion of various models for border decorations. The book discusses the famous strewn-flower borders and other types of fully decorated borders as well. The author analyses the isolated motifs in relationship to the page lay-out and the decorative programme of Ghent-Bruges standardised books of hours. The stylistic examination of both the miniatures and the borders of the manuscripts under discussion completes the integrated approach of this study. The author demonstrates how the illuminators collaborated with each other and exchanged artistic models for the illumination of these precious manuscripts. Languages: English.

ERIK TONEN BOOKS

Antwerpen, Belgique

A.M. As-Vijvers

Turnhout, Brepols, 2013 786 pages ., 355 b/w ill. + 72 colour ill., 210 x 297 mm, Languages: English. ISBN 9782503516844.

This publication offers an overview of the style of the Flemish miniature, from the anonymous and modest early Romanesque illustrations to the luxurious late Gothic miniatures, some of which were exported as far afield as Spain and Russia. A beautiful overview of the development in style of the miniature. From the anonymous and modest early Romanesque illustrations to the luxurious late Gothic miniatures of Simon Marmion or Lucas Horenbout who, in the fifteenth and sixteenth centuries, exported their Flemish masterpieces as far afield as Spain and Russia. Never before has the reader-viewer been presented with such a complete overview of the art of Flemish miniatures from the eighth to the sixteenth centuries. Never before has a book presented such a fascinating history of eight centuries of the art of miniatures from the Low Countries. Never before have so many miniatures - more then 600 colour illustrations - been reproduced in one book. Languages: English.

ERIK TONEN BOOKS

Antwerpen, Belgique

A.M de Poncheville

vol broché, 23x15, usures d'usages de la couverture, bon état int. 140pp. 14 planches d'illustrations Paris Alcan, 1925 ref/14

Livres anciens & Autographes

A. Massing;

Turnhout, Brepols, 2012 Hardback, 320 p., 240 b/w ill., 23,8 x 28. ISBN 9781905375349.

During the latter half of the eighteenth century, especially the period around and just after the French Revolution, what was happening in France in the field of painting restoration influenced all of Europe. In 1750 the museum in the Luxembourg Palace in Paris was opened to the public, and it became necessary to display to the public paintings which had been in storage for years. In the following decades King Louis XVI and his advisor, the Comte d'Angiviller, developed and enlarged the national collection of paintings. And with this came the need for painting restorers doing quality work - more than just the quick repairs as done by painters in the past - and several full-time painting restorers were employed. By the time the museum in the Louvre was opened to the public in 1793, in the midst of the French Revolution, the profession had been established. During the latter half of the eighteenth century, painting restoration techniques improved and French restorers began to travel to England and to other European countries more frequently, spreading their practical knowledge - especially about the lining and transfer of paintings. In Paris, a national concours was prepared to choose the most capable from a growing group of candidates, and in 1802 plans were drafted for a school of restoration. In this book the lives and careers of several of the more well-documented painting restorers for the French Royal Collection are traced one-by-one - including as much as possible about their restoration techniques. Languages : English.

ERIK TONEN BOOKS

Antwerpen, Belgique

A. Massing;

Turnhout, Brepols, 2012 Hardback, 320 p., 204 b/w ill., 240 x 280 mm. ISBN 9781905375349.

The art of painting restoration is almost as old as the art of painting itself. Accidents and time inevitably alter the appearance of a painting, and these changes begin as soon as it leaves the artist's easel. Purposeful alterations due to changes in taste have also contributed to transformations that paintings often underwent. Clearly the type of restoration procedures considered ethically acceptable have changed over the centuries. From the Renaissance until the end of the nineteenth century, European paintings were considered as two-dimensional illusions of a three-dimensional space, and any disruption to this illusion was considered as damage requiring repair. There was no acknowledgement of painting supports as an integral part of a picture; only the paint layer and the subject represented were appreciated. As a result, panels were often thinned and cradled in order to flatten the painted surface so that the image depicted could be viewed with less distraction. Supports were even considered replaceable. Total transfer of a painted surface onto a new surface was an acceptable procedure in the eighteenth century - even until the mid-twentieth century. Invisible retouching was used with the intent of returning the illusion of the painted surface to its 'original state'; the history of the work was not important. Until recent times, it was even acceptable to alter the format of a work of art to fit a frame or a space on the wall. Traditionally, if a painting was accidentally damaged or if 'adjustment' were required, a painter was entrusted with this task. In the past, the professions of painter and painting restorer overlapped, and both were trained as apprentices. Gradually the professional painting restorer appeared in Europe, and by the mid-eighteenth century, the profession was established. Earlier examples of professional restorers, especially in Italy, have been recorded while in other European countries, such as Britain, the career of the professional painting restorer began much later. During the later part of the eighteenth century in France, the painting restorers of the French Royal Collection became celebrated throughout Europe for their achievements. The political situation had an important influence on the development of the profession in France. The reigns of Francois I (1515-47), Louis XIV (1643-1715), Louis XVI (1774-93), and then the coup d'etat by Napoleon Bonaparte and the First Napoleonic Empire (1804-14) led to an increasing centralisation of the French Empire. The arts were meant to reflect the power of the state; thus Louis XIV and his political advisor and Surintendent from 1661 to 1685, Jean-Baptiste Colbert (1619-83), became the patrons of the French Academie de Peinture et Sculpture founded in 1648. A revision of the Academy's statutes in 1665 required students to submit annually drawings that focused on the heroic actions of the king. Paintings conferred status on their owner - in this instance the king and the French nation. It then became a necessity to have the paintings on display looking their best, and the skill of the French painting restorers was even used as a justification for Napoleon's policy of confiscation of works of art from all over Europe. The relationship between the French government's administration, firstly under the Ancien Regime, then under the new Republic, and the painting restorers they employed and supervised is related in this book. The manner in which changes occurred involves colourful personalities whose stories are often amusing and sometimes poignant, but above all they help us to understand the present-day situation. For during the turbulent years of the French Revolution new patterns emerged, which to a large extent remained in place in France for over two centuries. New book.

ERIK TONEN BOOKS

Antwerpen, Belgique

A. Merle du Bourg

, Brepols - Harvey Miller, 2017 Hardcover with dusjacket. 484 p., 121 b/w ill. + 23 colour ill., 180 x 265 mm, Languages: English. ISBN 9781909400962.

On 26 February 1622, in Paris, Rubens entered into a contractual agreement to execute two series of paintings, ?by his own hand?, intended to decorate the two parallel galleries of the Parisian palace ? the so-called Luxembourg Palace ? of Maria de? Medici, widow of Henri IV and mother of Louis XIII. Completed in 1625, the twenty-four monumental paintings of the western gallery exalting the life of the Queen Mother form a universally admired ensemble, on display at the Musee du Louvre for the last two centuries. However, the second part of this grand project, envisioned for the eastern gallery of the palace, was abandoned in 1630. The suspension and then premature termination of the project after the Queen Mother?s exile in July 1631 have deprived us of a work that would have been unique, both in its magnitude and in the artistic means Rubens deployed to glorify the royal couple. The Galerie Henri IV, planned as a commemoration of the king?s military victories and a celebration of his triumphs ?in the manner of the triumphs of the Romans? (as the contract has it), remains a puzzle whose missing pieces are more numerous than what is preserved. Still, some fifteen works ? preparatory oil-sketches on panel and large canvases, more or less completed ? have survived. It is above all through the study of these works that this volume aims to arrive at a better understanding of the context, the iconography, and the political significance of the Galerie Henri IV. Despite the frustration (for us, as for Rubens himself) of its abandonment, the unfinished project remains an extraordinary feat of Baroque encomium, and one of the artist?s greatest masterpieces.

ERIK TONEN BOOKS

Antwerpen, Belgique

A.-O. Poilpre, les Amis de la Bibliotheque Benedictine (eds.);

Turnhout, Brepols, 2012 Paperback, 156 x 234 mm.Languages : French. ISBN 9782503544304.

Les manuscrits m di vaux de Lorraine, tr sors du patrimoine graphique de cette r gion, taient au c?ur du colloque qui s?est tenu durant l?automne 2010 l?abbaye b n dictine de Saint-Mihiel (Meuse). Les actes pr sent s dans cet ouvrage portent sur une large s rie de productions locales et exog nes qui ont toutes pour d nominateur commun, l?histoire politique, institutionnelle, intellectuelle, spirituelle et artistique de Verdun et de l?abbaye de Saint-Mihiel au Moyen ge. La question du livre et de l? crit est abord e en trois volets th matiques et chronologiques allant des origines carolingiennes jusqu?aux productions enlumin es du XVe si cle. Si certains documents sont bien connus, comme le trait de Verdun, d?autres demeuraient ce jour totalement ou partiellement in dits, tels le manuscrit dit du pseudo Athanase (Saint-Mihiel, Biblioth que municipale, ms Z 28) ou le graduel de Saint-Mihiel (Saint-Mihiel, Biblioth que municipale, ms Z 73).

ERIK TONEN BOOKS

Antwerpen, Belgique

A.-O. Poilpre, les Amis de la Bibliotheque Benedictine (eds.);

Turnhout, Brepols, 2012 Paperback, 156 x 234 mm.Languages : French. ISBN 9782503544304.

Les manuscrits m di vaux de Lorraine, tr sors du patrimoine graphique de cette r gion, taient au c?ur du colloque qui s?est tenu durant l?automne 2010 l?abbaye b n dictine de Saint-Mihiel (Meuse). Les actes pr sent s dans cet ouvrage portent sur une large s rie de productions locales et exog nes qui ont toutes pour d nominateur commun, l?histoire politique, institutionnelle, intellectuelle, spirituelle et artistique de Verdun et de l?abbaye de Saint-Mihiel au Moyen ge. La question du livre et de l? crit est abord e en trois volets th matiques et chronologiques allant des origines carolingiennes jusqu?aux productions enlumin es du XVe si cle. Si certains documents sont bien connus, comme le trait de Verdun, d?autres demeuraient ce jour totalement ou partiellement in dits, tels le manuscrit dit du pseudo Athanase (Saint-Mihiel, Biblioth que municipale, ms Z 28) ou le graduel de Saint-Mihiel (Saint-Mihiel, Biblioth que municipale, ms Z 73).

ERIK TONEN BOOKS

Antwerpen, Belgique

A.R.C. (animation, recherche, confrontation)

Paris, Musée d'Art Moderne de Paris, 1970. 18 x 18, sans pagination, nombreuses illustrations, reliure en spirale, bon état.

A. Sauzay

Ouvrage illustré de 66 gravures d'après les dessins de B.Bonnafoux. Vol relié demi cuir, in8, 180x120, qq rousseurs, bel état, 311pp. Paris, Hachette 1876 ref/209

Livres anciens & Autographes

A. Sauzay

Vol in grand in8, demi veau glacé, 28x20, très bel état intérieur, 352pp + table des monogrammes, marques et poinçons ( 4pp) Paris, Charles de Mourgues, 1861 ref/179

Graveur, dessinateur d'architectures et d'ornements, architecte. Frère aîné de l'architecte Louis Sauvageot, né en 1842, Claude Sauvageot fut renommé comme graveur illustre. Élève de Gaucherel, il débuta au salon de 1855 et grava de nombreuses planches pour des publications d'architecture, devenant le collaborateur de Viollet-le-Duc et de ses proches. Nommé directeur de la revue" L'Art pour tous" de 1861 à sa mort en 1885, il se fit connaître en publiant pour son compte plusieurs ouvrages, dont "Viollet-Le-Duc et son oeuvre dessiné" et "Palais, châteaux, hôtels et maisons de France, du XVe au XVIIIe siècle". Il fut décoré Chevalier de la Légion d'honneur en 1885.

Livres anciens & Autographes