bai antwerp (16 results)

Condition: Fine. 63 pp., Paperback, fine. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.

Paperback. Condition: Fine. 1st. 112 pages, illustrations (chiefly colour); 25 cm. Firm binding, clean inside copy. *** The Belgian artist Eugeen van Mieghem (1875-1930) was a Social Realist who has been compared to Millet and Kathe Kollwitz. Size: 8vo. Collectible.

Trade Paperback. Condition: Mint. First Edition. This mint unread copy is bound in illustrated card covers as issued. The text block is tight white, bright and square. International postal rates are calculated on a book weighing 1 Kilo, in cases where the book weighs less then postage will be reduced accordingly. Where the book weighs more than 1 Kilo increased charges will be quoted, where the book weighs less then postage will be reduced accordingly. Sir Peter Paul Rubens ( 28 June 1577 - 30 May 1640) was a Flemish artist and diplomat from the Duchy of Brabant in the Southern Netherlands (modern-day Belgium) who lived during the Dutch Golden Age. He is considered the most influential artist of the Flemish Baroque tradition. Rubens's highly charged compositions reference erudite aspects of classical and Christian history. His unique and immensely popular Baroque style emphasized movement, colour, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens was a painter producing altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. He was also a prolific designer of cartoons for the Flemish tapestry workshops and of frontispieces for the publishers in Antwerp. This lavishly illustrated tribute to the artist incorporates a walking tour of thecity of Antwerp Ref S 4.

Hardcover. Condition: New. Dust Jacket Condition: New. Qto., 79 pages, illustrate din colour. The text is in English. A New copy in dust jacket. Book.

Softcover. sepia-toned pictorial wraps w/ red printing. printed french flaps. 96 pgs w/ color, bw illustrations. Illustrated throughout. VG+ (organizational gift sticker to title pg. light edge-wear to wraps, some rubbing. very tightly bound; likely unread).

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. Jef Van Campen (illustrator). 1st Edition. English and Fleming text. Unread condition.

Condition: Very good.

Hardcover, 192 pages illustrated in full color. text in English, 245x297mm.* New. ISBN 9789085868125. This book was published as part of the Glass in MAS project, a multidisciplinary research project on the glass collection of the MAS collection Vleeshuis (Antwerp, Belgium). Never before has the collection of archaeological glass of the MAS Vleeshuis Collection in Antwerp been described and disclosed in its entirety. This hidden treasure is part of a valuable study collection on 20 centuries of glass production, a wealth of information that has remained underexposed. The archaeological part is presented for the first time in this extensive catalogue 0 g.

HB, 215 x 165 mm, 128 pages, English edition. ISBN 9789085868095. Plantin traveled a lot, to Paris, where he had a bookstore and lace trade, to Leiden where he had a second business, to Frankfurt for the buchmesse, . He was on his way almost half of the year. He was an experienced traveler. How did people travel in a time without motorways, GPS, smartphone or trip advisor? Plantin had tables available that calculated how long the trajectories lasted. Unfortunately, he did not keep track of where he slept, ate, and how much he spent. Fortunately, there are other contemporaries, such as D rer and Montaigne who did take extensive notes during their travels. In the wake of Plantin, we send young photographers on different journeys with various means of transport. How do travel distances and travel times differ from journeys in the sixteenth century? 0 g.

Hardcover, 280 x 210 mm, 176 pages, throughout illustraties, ENG edition, *new. ISBN 9789085868293. Paintings featuring harpsichords, virginals and organs offer us a glimpse of gorgeous interiors, amorous scenes and finely-dressed ladies - and the occasional young man too - at the keyboard. Keyboard instruments can also be the key to decoding an allegory, myth or hidden message in a painting. Other exhibits include painted harpsichord and virginal lids as well as original instruments. Loans from the National Gallery in London, the Rijksmuseum in Amsterdam, the Suermondt-Ludwigmuseum in Aachen and many other museums and collectors offer a delight for eyes and ears. The music room at the Snyders&Rockox House evokes the Jewish-Portuguese Duarte family, who came to Antwerp in the 16th century to flee the Inquisition. They were drawn by the commercial opportunities offered by the city, where they lived in a patrician residence on the Meir, the most important street. Besides an exceptional collection of paintings by leading Italian and above all Flemish masters, from Titian and Tintoretto to Quinten Massys, Peter Paul Rubens and Anthony Van Dyck, the family also owned five harpsichords and virginals. Duarte did not have to look far to find them, as Antwerp was one of the leading centres for the construction of these instruments and two if not more important harpsichord builders belonged to the businessman's circle of acquaintances. The first references to harpsichord builders in Antwerp date from the beginning of the 16th century. It was between 1560 and 1660, however, that the city was known as the undisputed world capital of harpsichord production. Every year, Antwerp workshops turned out hundreds of harpsichords and virginals. Contemporaries praised the instruments for the richness of their sound and their reliability. The members of the Ruckers-Couchet family were especially renowned for their exceptionally high-quality instruments. Hans Ruckers, his sons Joannes and Andreas and his grandson Joannes Couchet did for instrument-making what Peter Paul Rubens was doing for painting and Christophe Plantin for printing. The Ruckers-Couchet family was not alone: names like Marten van der Biest, Joos Karest, Cornelis and Simon Hagaerts, Joris Britsen and many others also stood for excellent quality. Antwerp harpsichords and virginals did not only sell very well locally, they were sought-after throughout Europe and even far beyond until well into the eighteenth century. A substantial proportion of Antwerp's harpsichord output, like that of its paintings and ornamental furniture, was destined for the international market. The city also developed a strong tradition in the building of domestic and church organs. Dozens of organ builders were active in the 16th century alone, including the Moors and Brebos families. The Ruckers-Couchet family worked with organs too: Joannes Ruckers, for instance, was responsible for a while for maintaining the organ at Antwerp Cathedral. The rise of the Antwerp keyboard builders was accompanied by a flourishing music printing industry (Antwerp was not the first or the only centre of music publication, but it was certainly one of the most important) and an emerging bourgeois culture in which music too played a part. The original instruments are a lasting testimony to musical life in Antwerp, as are the paintings that explore them as their subject matter. Frans Floris, Jacob Jordaens, Maerten de Vos, de familie Francken, Jan Miense Molenaer, Jan Steen, Gerard Dou, Gabri l Metsu en Jacob Ochtervelt 0 g.

Cloth. Condition: Fine. No Jacket. Devoted to a series of 54 miniature paintings related to Sarvavid Vairocana, the All-knowing Buddha. It reveals a meditation process that is rarely depicted. From the collection of Sanje (Frank) Elliott, Buddhist mentor, artist, and friend to many. Condition notes: 176 numbered pp; HB no DJ. Pages: clean, bright, tight, pale yellow eps. Cover: color artwork and white titles front/spine; minimal shelfwear, bottom corners bumped.

Hardback, 280x220mm, 272p, 460 col.ill, English edition , new condition !! . ISBN 9789085864745. In recent years, the work of the Antwerp harbour artist Eugeen Van Mieghem is being rediscovered through expositions in e.g. Barcelona, London, New York, Paris, Amsterdam and Berlin. This is particularly due to the author and curator of the Eugeen Van Mieghem Museum in Antwerp, Erwin Joos, who is studying the oeuvre since 1982. This is his first book describing the largest Van Mieghem collection in the world which is located in the Municipal Print Room of the City of Antwerp counting no less than 610 works of the artist. Van Mieghem grows up in the centre of the old Antwerp harbour. In 1892, when attending the Antwerp Academy, he sees works of e.g. Van Gogh, Seurat and de Toulouse-Lautrec. In 1896, he is dismissed from the Academy and works here and there in the harbour. In 1901, he is very successful at "La Libre Esthetique". Soon after that, he marries Augustine Pautre. Around 1900, he paints an impressive series about the Jewish emigrants who leave for the New World with the Red Star Line. At the end of that year, Augustine falls ill and Van Mieghem represents her when she is dying in an impressive series of drawings and pastels. In 1912 his first individual exposition is being organised, but the burgeoning international interest is suddenly broken off by the World War I. In 1920, Van Mieghem is appointed professor at the Antwerp Academy, and until his death, he continues his artistic activities in the context of the Antwerp harbour and its population. As no other he draws and paints the life of the man in the street, living and working in a world harbour. 0 g.

hardcover, 160 pages,throughout colour illustrations, ENG edition. FINE! ISBN 9789085868484. Jan Davidsz. de Heem (Utrecht, 1606 - Antwerp, 1684) is among the very best still-life painters of the seventeenth century. He worked both in Antwerp and the Northern Netherlands, thus bringing together Flemish and Dutch painting. De Heem was a wizard with oil paint who portrayed eye-catching illusions of opulence and beauty in his many still lifes of varying sizes. In the more than five decades in which he painted, he always sought innovation in his choice of subject matter and in the breathtaking rendering of details. His still lifes take us back to the finest the seventeenth century had to offer. The Snijders House is part of the museum Snijders&Rockoxhuis in Antwerp and the former home of Frans Snijders, the Antwerp painter of still lifes, markets, animal pieces and yachts. The choise for this seventeenth-century patrician residence as an exhibition site to show masterpieces from De Heem's oeuvre is obvious. 0 g.

EXHIBITION CATALOGUE. SQUARE QUARTO, CARD COVERS, FINE PROFUSELY ILLUSTRATED.

Hardcover with dusjacket, HB, 240 x 170 mm, 200 pages, German edition. *NEUES ISBN 9789085867616. Ursula Harting, Alexander Keirincx (1600-1652) - Der Baummaler unter Mitwirkung von Richard P. Townsend und Rick C. Coone Baumriesen, machtige Individuen dominieren die Landschaftsgemalde von Alexander Keirincx (1600 Antwerpen-Amsterdam 1652). Eine Zeitlang lebte Keirincx in London gleich neben Cornelis van Poelenburch (1594/5-1667), der haufiger seine arkadischen Landschaften mit raffaelesken Figuren staffierte, manches Mal mit Nymphen, ausgelassenen Satyrn und erotischen Badeszenen. So hiess es schon 1753, dass Keirincx' Landschaften zwar sehr ansprechend seien, aber fur Staffagefiguren seiner schonen Bilder hatte er keine Begabung. Und so gehort Poelenburch und seine Schule zu den heute geschatzten Staffagemalern in Keirincx' Landschaften. Keirincx reussierte mit Waldansichten mit nackten Figuren aus der Hand von Poelenburch am Hof in Den Haag und in London mit Ansichten koniglicher Schlosser im Auftrag von King Charles I. Im belgischen Antwerpen geboren und bei Abraham Govaerts (1589-1626) in die Lehre gegangen, hatte sich Keirincx nach dessen Tod langsam von den dichten Waldansichten dieses Waldmalers gelost. Er verliess zu dieser Zeit das waldreiche Belgien in Richtung nordliche Niederlande, war kurze Zeit in London, lebte zuvor in Utrecht und danach in Amsterdam. Seinem kunstlerischen Wandel von dichten Waldansichten zu dominanten Baumportraits in englischer Heckenlandschaft kann man an Hand des reich illustrierten Werkkatalogs folgen. Es liegt hiermit ein Katalog der Gemalde von Alexander Keirincx vor, der der langjahrigen Beschaftigung der Autorin mit Keirincx' Oeuvre zu danken ist, unter Mitarbeit von Richard P. Townsend, der ein Resumee zu den in England entstandenen Schlossansichten beisteuert, auf Basis seiner Promotion bei Prof. E. Haverkamp- Begeman, und Rick C. Coone, dem neue, erhellende Archivfunde zu verdanken sind, und seinem Archivteil, in der Nachfolge von Frank Huygens 0 g.

HARDBACK, 260 x 210 mm, 88 pages. English edition . ISBN 9789085867708. In the seventeenth century, Balthasar Moretus I was master of the Plantin Press. The Baroque era was in full sway and proved highly influential on developments in the world of books. Balthasar succeeded in getting leading artists to work on his book designs. This included collaborating with Peter Paul Rubens on more than twenty projects. Even today, publishers still play the role of director in terms of book innovation, and the relationship between publisher and artist remains as important now as it was in the past. Balthasar Moretus and the Passion of Publishing introduces the reader to fascinating publishing projects that make us look at books in a new light. We learn how both publisher and artist are constantly reinventing the book together. 0 g.