Brepols 2015 (34 Ergebnisse)

Hardcover. Red cloth, VG. Langland Yearbook 29.

470 p. Hardcover (In very good condition, like new.).

Hardcover. Pictorial bds, VG. Texte, Codex & Contexte 20.

Hardcover. Pictorial bds; VG.

Engelstalig, uitvoerig geà llustreerd in kleur en zwart-wit, quick reference sheet bijgevoegd. Prima exemplaar met minieme gebruikssporen.

Buch. Zustand: Neu. Neuware - Volume editorial board: Erik Thoen (Ghent University, Belgium) & Tim Soens (University of Antwerp, Belgium) in association with: Paul Brassley (University of Exeter, UK), Fulgence Delleaux (Université de Namur, Belgium), Laurent Herment, Michael Kopsidis (IAMO, Halle, Saale, Germany), Per Grau Møller (University of Southern Denmark, Denmark), Janken Myrdal (Swedish University of Agricultural Sciences, Sweden), Alexandra Sapoznik (King's College, London, UK), Yves Segers (University of Leuven, Belgium) Agriculture is always a struggle with the environment since agricultural production is in fact applied ecology. However, in the past this struggle with environment was to a large extent determined by social organisation, which was regionally very diverse. The aim of this volume is to fi nd out how, when and within which structural boundaries, land was made useful for agriculture. In the first part of each chapter, this is studied in general, focusing on the evolution of land use: how and why was land reclaimed and by whom How intensively was this land used Which actors played a part in this process What were the environmental and social limits In the second part production techniques and production systems are scrutinized: crop choices, crop rotations, the importance of fallow and cattle, crop yields etc. All this is examined in light of diff erent farming strategies and social conditions. The comparative approach of this volume in the Rural Economy and Society Series also enables a new and innovating perspective on the occurrence and impact of 'agricultural' and 'green' revolutions in the past. …

Volume 5 of 'Brepols Collected Essays in European Culture'. 8vo. (240x163mm), pp: xxii,[1]-467,[1], in pictorial laminated boards as new & very good indeed. Essays written in English, German etc.

xvi + 601pp., in the series "Textes et études du moen age" volume 80, 24cm., softcover, very good condition, F104918.

Hardcover. Pictorial boards, VG.

Hardcover. Pictorial bds, VG.

Brepols Disputatio Series volume 23. 8vo. (240x160mm), pp: xiv,[1]-421,[1],[2], in pictorial laminated boards, as new & very good indeed.

Pages: 240 pagina's, Size:216 x 280 mm, Illustrations:79 b/w Language(s):Dutch. ISBN 9782503565057. Dr. Jan Renier Snieders (1812-1888) was naast huisarts, verloskundige, en chirurg in de regio Turnhout ook wetsdokter en expert in dienst van de overheid en tevens bescheiden romancier. De dokter laat een zeer uitgebreid archief na: zijn cursussen, brieven en notities uit zijn privépraktijk, zijn verslagen voor de overheid, en zijn romans. Door Snieders? unieke positie geven deze archiefbronnen een bijzondere inkijk in het dagelijkse leven van de ?gewone man? in Turnhout en de Kempen op de overgang naar moderniteit: de bittere armoede, de schokkende leefomstandigheden en de harde impact van de industrialisatie op deze regio. Snieders? archiefbronnen zijn door Gil Tack verwerkt tot een boeiend relaas dat verrassend, aangrijpend en soms schokkend is. De documenten, die focussen op zieken en personen in moeilijkheden uit de onderlaag van de maatschappij, geven weer wat de mensen uit Turnhout en omgeving 150 jaar geleden doormaakten. Gil Tack weet hun leed helder te plaatsen binnen de bredere maatschappelijke evoluties in het België van de 19de eeuw. Een opmerkelijke studie dus op de grens van sociale geschiedschrijving, medische historiografie en erfgoedpraktijk. TABLE OF CONTENTS VOORWOORD JAN RENIER SNIEDERS, GENEESHEER IN DE NEGENTIENDE EEUW Leven en werk De Kempen in de negentiende eeuw De persoon Renier Snieders Advies aan de lezer JAN RENIER SNIEDERS, GENEESHEER EN GYNAECOLOOG Artsenopleiding in Leuven Huisartsenpraktijk in Turnhout Cholera-epidemieën: een mysterie in negentiende-eeuws Europa Strijd tegen andere besmettelijke ziekten Hondsdolheid of razernij: een ziekte om bang voor te zijn Eerste belangrijk succes: de koepokinenting Pastoorsmeid in barensnood in Zevendonk! ?Vroedkunde? of gynaecologie in Turnhout Gevangenisarts in het kasteel Bijdrage tot de volksgeneeskunde Geneeskunde, de rode draad in de roman Op de pijnbank JAN RENIER SNIEDERS, WETSDOKTER IN DE KEMPEN Uitvoeren van lijkschouwingen Onderzoek van geweldpleging Onderzoek van seksueel geweld Bepalen van de toerekenbaarheid Forensisch onderzoek in de kinderschoenen JAN RENIER SNIEDERS, ADVISEUR IN DIENST VAN DE OVERHEID Gezondheidsrisico?s door ?kwalijke dampen? en stank Bijkomende gezondheidsrisico?s in de leefomgeving Levenskwaliteit van de mensen BIBLIOGRAFIE Archieven Boeken en tijdschriften Websites 0 g.…

paperback, 160 p., 100 b/w ill. + 16 colour ill., 210 x 297 mm, Languages: English . ISBN 9782503535265. This publication presents a collection of essays about painting in Venice from 1450 until 1750 with a central focus on the formal, stylistic, and structural aspects of the pictures. This book brings together essays about painting in Venice during three centuries of remarkable artistic production, influence, and exchange. The chronological scope of the anthology reflects the crucial interrelationship between the life of the arts and the republic, but also indicates the longevity of the distinctive, but not in the least isolated, mode of making and looking that engaged painters and viewers both inside and outside of Venice. The focused themes that emerge in the essays?the artist?s self-perception, the role of innovation and tradition in formal and material aspects of pictorial composition, the artistic exchange between Venice and other cities, both east and west, and the unique political and social pressures on artistic production and reception?reflect the Venetian engagement with many of the central concerns that preoccupied early modern artists. The dialogue established between Venetian art and society underpins all of the essays in the anthology; however, their critical focus remains on the formal, stylistic, and structural aspects of the pictures and how these visual mechanisms express meaning and shape viewer response 0 g.…

Zustand: Gut. getr. Pag. 31 Bände. Mehrbändiges ehemaliges Bibliotheksexemplar mit Stempeln und Rückensignaturen. Einbände mit leichten bis moderaten Lagerspuren, Papier der älteren Bände etwas nachgedunkelt, Seiten fest, im Text vereinzelt Anmerkungen und Markierungen möglich. Insgesamt guter Zustand. Aufgrund des hohen Gewichts werden die Versandkosten gesondert berechnet. Diese können Sie gerne bei uns erfragen. mbx Sprache: Französisch Gewicht in Gramm: 58000 4°, Hardcover (Fasc. 192-196 broschiert).…

Mit zahlreichen, zum Teil farbigen, Abbildungen und Tafeln. Gutes Exemplar mit nur leichten Gebrauchsspuren. Textsauber und aus einem Nichtraucherhaushalt. Sprache: Englisch, vereinzelte Beiträge auf Französisch. Dieses Exemplar stammt aus der Bibliothek von Walter W. Müller, Professor für Semitistik an der Philipps-Universität Marburg. // Original paperbacks (Vol. 17 in large format). Clean books in good condition. Books from a non smoking environment. Language: English, some contributions in French. This copies come from the library of Walter W. Müller, Professor of Semitic Studies at the Philipps University of Marburg. Sprache: Englisch Original-Broschuren (Band 17 im Großformat).…

Hardcover, iv + 267 pages, ., 184 col. ills, 220 x 280 mm, English, ISBN 9782503555577. This publication is the revised, expanded, and updated version of the book in French that appeared in 2010 from the same publisher: Les ducs d?Arenberg et la musique au XVIIIe siècle. Histoire d?une collection musicale. The study explores in depth the development of a music collection created by one of the most influential noble European families under the Ancien Régime ? a family resident in the Spanish and then the Austrian Netherlands, the territory of the future state of Belgium. Today forming an integral part of the private family archives kept at Enghien (in the Hainaut region of Belgium), this exceptional collection of manuscripts and prints from all over Europe began to expand in the last years of the seventeenth century, and grew gradually and continually throughout the eighteenth century. Analysing this collection has afforded a rare opportunity to discover and identify musical sources entirely unknown to us until now; these include works by the Italians Alessandro Scarlatti, Pietro Torri, and Antonio Vivaldi. With the aid of unpublished archival material, it has proved possible also to relate and explain how this important music collection was amassed, and, through the prism of the musical affinities of an aristocratic family, to illustrate the evolution of taste in eighteenth-century Europe. The introduction to the book sets out key milestones in the history of the Arenbergs and their music library. The three chapters that follow trace the development of this collection under Dukes Léopold-Philippe (1690-1754), Charles-Marie-Raymond (1721-1778), and Louis-Engelbert (1750-1820) d?Arenberg, while an Epilogue sheds light on the era of the Prince and composer Paul d?Arenberg (1788-1844). Via music lessons, private and public concerts, operatic performances (not only in Brussels but also in Paris, London, Vienna, and Rome), and contacts with such musicians as Mozart, Paisiello, and Haydn, the Dukes acquired in the region of 1500 music manuscripts and prints, where the above names, as well as those of Lully, Handel, Pergolesi, Grétry, and Salieri, appear alongside those of musical personalities long since fallen into obscurity. Finally, the book tells a hitherto largely untold story of musical life in the former Southern Netherlands and Europe under the Ancien Régime, the family archives shedding particular light on the role played in this by the Dukes of Arenberg as patrons of the Arts. Towards this end, the book makes detailed reference to and reproduces the most significant sources and documents. Review ?The book is beautifully produced and consists of everything a critical reader wishes to find: a fine structure, excellent prose, many full colour reproductions of highest quality, and, above all, a lot of information (?) All in all, this is a lovely book which will easily serve as an adornment on the bookshelves of readers with an interest in western music of the eighteenth century.? (Albert Clement in BMGN, 20/11/2017) 0 g.…

Hardcover 434 pages ., 23 colour ill., 160 x 245 mm. Texte en Francais. ISBN 9782503529905. A l'aube du XVème siècle, Philippe le Hardi, premier duc de Bourgogne, jette les premières bases de ce qui allait devenir une bibliothèque d'exception. Transmise à ses successeurs, elle fera la fierté de Jean sans Peur, Philippe le Bon puis Charles le Téméraire. La bibliophilie devient affaire de famille: tous auront peu ou prou le souci d'accroître cette collection, miroir prestigieux de la puissance de l'Etat bourguignon. Puissant, certes, mais vulnérable: la mort de l'ambitieux Charles le Téméraire suite au désastre de Nancy, en 1477, vient bouleverser le destin des Pays-Bas méridionaux. Le dernier duc de Bourgogne laisse derrière lui une librairie dont le nombre de pièces avoisine le millier. Qui trop embrasse mal étreint, dit-on. L'adage ne vaut pourtant pas pour la collection bourguignonne, dont le nombre n'a d'égal que la qualité des pièces conservées. Et pour cause: bien des artistes, des copistes, des auteurs et des traducteurs de renom ont consacré leurs talents à l'enrichissement de "la librairie de mondit seigneur". Sur le millier de volumes recensés à la mort du Téméraire, environ 300 codices sont aujourd'hui conservés à la Section des Manuscrits de la Bibliothèque royale de Belgique. La série consacrée à la "Librairie des ducs de Bourgogne" regroupera, selon un classement typologique des textes, l'ensemble de ces manuscrits. Paru en 2000, le premier tome de la série "Librairie des ducs de Bourgogne" (LDB-I) était consacré aux textes liturgiques, ascétiques, théologiques, philosophiques et moraux. Les manuscrits didactiques ont été traités dans le deuxième volume, édité en 2003, tandis que les oeuvres littéraires ont fait l'objet du tome III qui a paru en 2006. Le présent volume (LDB-V) reprend la suite des textes historiques qui ont fait l?objet d?un premier volume en 2009 (LDB-IV): y figurent toujours des ?uvres emblématiques de la Librairie de Bourgogne telles que le Recoeil des Histoires de Troyes de Raoul Lefèvre, l?Histoire de la Toison d?or de Guillaume Fillastre ou la Fleur des Histoires Jean Mansel mais aussi des textes moins connus à l?influence tout aussi importante: le Liber secretorum fidelium crucis de Marino Sanudo ou la Mappemonde spirituelle de Jean Germain. Notices descriptives Chaque manuscrit est étudié, suivant une grille d'analyse, du point de vue codicologique, historique, textuel et artistique. Ces descriptions, qui complètent et réactualisent les catalogues de Van den Gheyn et Gaspar et Lyna, sont accompagnées de commentaires (status quaestionis, nouvelles perspectives de recherche, etc.) et d'une mise à jour de la bibliographie. Subdivisions de la grille d'analyse Cote - Signalement / Titre - Identification / Auteur / Genre - Thématique (typologie) / Dénomination / Contenu (inventaire et identification des textes) / Incipit / Incipit second folio / Explicit / Colophon / Copiste / Traducteur / Langue / Ecriture / Edition / Datation / Origine / Provenance / Mentions d?inventaire / Description codicologique (support, nombre de feuillets, dimensions, organisation des cahiers, justification, etc.) / Décoration / Illustration / Illustration secondaire (décorations marginales) / Attribution de l'illustration /?Héraldique / Reliure / Remarques / Commentaires / Orientation bibliographique. Exemples de manuscrits décrits (Volume V)?: Guillaume Fillastre, Histoire de la Toison d'or?; Raoul Lefèvre, Recoeil des Histoires de Troyes?; Marino Sanudo, Liber secretorum fidelium crucis?; Jean Mansel, Fleur des histoires?; Guido delle Collonne, Historia destructionis Troiae (traduction française)?; Jean Petit, Discours sur le tyrannicide?; George Chastelain, Exposition sur verité mal prise. 0 g.…

Hardback with dj., VI+248 p., 150 colour ill., 220 x 280 mm. Languages: English, Italian, Latin. ISBN 9781909400245. As a gateway to the central Piazza Maggiore and a work of singular beauty and elegance, the Neptune Fountain is one of Bologna?s most prized artistic gems, recognized by all but understood by very few. Richard Tuttle?s monograph represents the first comprehensive study of this iconic monument, executed between 1563 and 1567 by the Flemish artist Giambologna and the Sicilian architect Tomaso Laureti, that considers all of the complex aspects of its commission, planning, execution, iconography, and urban impact. Working with an extraordinary body of documentary and visual materials, Richard Tuttle (1941-2009)?one of the world?s foremost authorities on Renaissance Bologna?reveals how the fountain was created collaboratively by papal administrators and artists, how it depended on contemporary hydraulic technology, communicated political messages, and became an instrument of urban renewal. The book?s broad appeal, scholarly rigor, and eloquent writing promise to make it an indispensable source on Italian sixteenth-century sculpture, architecture and urban planning, as well as a definitive text on this remarkable Renaissance fountain. Richard J. Tuttle (1941?2009) taught Renaissance architectural history at Tulane University for thirty years (1977?2007), before moving to the University of Bologna?s Department of Architecture and Urban Planning in 2007. He was the author of numerous groundbreaking and award-winning studies on Renaissance architecture, sculpture, and urbanism, and was the world authority on sixteenth-century Bologna and the architect and theorist Jacopo Barozzi da Vignola. Nadja Aksamija is Associate Professor of Art History at Wesleyan University. Her published and forthcoming books and articles have examined, among others, sixteenth-century villas and castles in Bologna and Dubrovnik, notions of sacred landscape in Counter- Reformation painting and emblematics, and the restoration of Renaissance architectural monuments in the nineteenth and twentieth centuries. She is the recipient of prestigious grants and fellowships from the Getty Foundation, the Kress Foundation, and the Villa I Tatti in Florence, among others. Francesco Ceccarelli is Associate Professor of Architectural History at the University of Bologna. The focus of his research is the early modern and modern Italian city, from the Renaissance through Neoclassicism. He is the recipient of the Accademia Nazionale dei Lincei?s prestigious prize in History and History of Geography (2000) for his innovative research on the strategies of urban development in the Po valley during the Renaissance. 1540 g.…

Hardback, 291 pages, 156 x 234 mm, Illustrations: 11 b/w, French. *NEW ISBN 9782503531625. Cet ouvrage présente les pièces liminaires des ?uvres transmises ou publiées par les soins de Johannes Sambucus (1531-1584), érudit hongrois, fils du maire de la ville prospère et cosmopolite de Trnava, au nord-ouest de la Hongrie ancienne. Parcourant l?Europe pendant une durée inhabituelle de vingt-deux ans, il passa son temps à constituer une immense bibliothèque de manuscrits grecs et latins. Ce fonds devint sans doute la plus grande bibliothèque privée de manuscrits en Europe centrale et orientale. Bien avant son installation à la Cour impériale de Vienne, il s?était taillé une solide réputation de lettré après la publication de son splendide livre d?Emblemata, issu des presses de Plantin qui allait devenir son principal éditeur. Bien qu?il fût officiellement historiographe de l?empereur, son intérêt principal se tournait vers la publication des trésors uniques de sa bibliothèque. Il prit part à la publication de trente-deux auteurs classiques, byzantins et néo-latins où l?on retrouve des éditions marquantes d?Aristénète, de Diogène Laerce, de Pétrone, de Plaute ou de Janus Pannonius. Il contribua aussi aux premières éditions de certains textes de Gémiste Pléthon, d?Hesychius, de Nonnus ou de Stobée. Son travail de philologue est analysé dans une ample introduction en contrepoint de l?édition des pièces liminaires. 0 g.…

Paperback, XXI+240 pages., 354 b/w ill., 216 x 280 mm, Languages: English new. . ISBN 9782503555140. Considered the most important French Renaissance church, Saint-Eustache in Paris has long remained an enigma. What new circumstances allowed its parishioners, long desirous of a new church, suddenly to begin buiding it 1532? Did Francis I play a role? Was the obscure Jean Delamarre possibly its architect? Could the ideas of the Italian theorist, Serlio, have affected his design? These and other key issues are resolved by the author in a sustained reading of all known evidence. The baffling formal complexity of the church is clarified through lucid analysis that employs hundreds of new photographs executed by the author. The building is studied within the context of sixteenth-century French architecture and its roots in antiquity, the Italian Renaissance, Romanesque and Gothic France, and the Flamboyant Style. Sankovitch?s work will serve as a standard for all those who desire to understand this mysterious building and its times. A bright, clear window revealing an unseen architecture, previously an invisible ? or at best murky ? episode in the history of art, it is a portal to all future research on the building, and a key to the architectural life of the period. A leading scholar in French Renaissance architecture, Anne-Marie Sankovitch (1958-2005) studied at Smith College and received her Ph.D. from the Institute of Fine Arts, NYU (1991), where she later became Research Associate. Her articles appeared in the Art Bulletin, RES, JSAH, and numerous conference volumes. Table of Contents Series Editor?s Foreword by Krista De Jonge Foreword by Jean Guillaume Response by Etienne Hamon Anne-Marie Sankovitch and Saint-Eustache by Marvin Trachtenberg Editor?s Acknowledgments Anne-Marie Sankovitch, Publications 1994?2006 The Church of Saint-Eustache in the Early French Renaissance Chapter 1: A Critical Historiography of Saint-Eustache Chapter 2: Problems of the Site and the Struggle to Enlarge the Church Chapter 3: A Royal Project: Saint-Eustache Unbound Chapter 4: A Revised Building History, the First Master, and Serlio Chapter 5: Toward the Identity of the Architect (Jean Delamarre?) Chapter 6: The Presence of the Past at Saint-Eustache from Cluny to Pavia Chapter 7: Gothic and Late-Gothic Strategies of Architectural Composition List of Illustrations Bibliography Author?s Acknowledgments Index Photographic Credits 0 g.…

Hardcover with dusjacket - X+228 pages., 132 b/w ill. + 34 colour ill., 210 x 297 mm, Languages: English. FINE ISBN 9782503546247. This book examines the phenomenon of "Hispano-Flemish" style in fifteenth-century Castile, providing an account of its most important monuments and describing the ways in which it is embedded in specific social and cultural settings. Trade, diplomacy, and immigration account for the widespread presence of art and artists from northern Europe in Castile during the period and these mechanisms of international contact and exchange are the starting point for this inquiry. Chapter one details commercial relations between Castile and the art-producing centers of northern Europe, stressing the dominant role of merchants from Burgos and documenting the prevalence of imported luxuries like tapestries, paintings, and sculpture. The presence of imported artworks in Castile was paralleled by a similarly robust number of immigrant artists, some itinerant and others attached to permanent workshops. Their influence is discussed in chapter two, with emphasis on the establishment of multi-generational family workshops under the direction of immigrant masters. Such workshops rooted foreign styles on Castilian soil and decisively influenced the ways in which visual conventions were learned, transformed, and transferred. The receptivity of patrons to the visual qualities of the imported style is analyzed in relation to its capacity to assert emerging social, political, and spiritual values. The adoption of northern forms in Castile, first detected in the sculptural decoration of funerary chapels of the mid-1430s, was sustained for the rest of the century, culminating in the completion of the monastery of Miraflores under the patronage of Isabel of Castile. Chapter three outlines the religious, commemorative, and political motives that informed the foundation of the monastery by Juan II and those that animated his daughter?s efforts to complete it. It establishes the chronology of works in relation to historical events and details the intervention of Juan and Simon de Colonia, Gil de Siloe, Juan de Flandes, and others. The reelaboration of Siloe?s northern European sculptural idiom at Miraflores was a distinctive process, stimulated by the demands of his royal patron, conditioned by the practices of a heterogeneous workshop, and obliged to visualize a new concept of royal sovereignty. 0 g.…

3 vols, Hardback, 1328 p., 220 x 285 mm, Illustrations:869 col. *NEW . ISBN 9781905375783. This three-volume catalogue presents five manuscripts containing some 780 mainly botanical drawings, now in the library of the Institut de France. They were produced for Federico Cesi in the 1620s to further the researches of the scientific society he had founded in Rome, the Accademia dei Lincei, of which Cassiano dal Pozzo was a member. The manuscripts were acquired by Cassiano in 1633 following Cesi?s death, together with three companion manuscripts dedicated to drawings of fungi (published in Part B.II of the catalogue raisonné). Many of the drawings depict plants such as ferns, bryophytes, mosses and liverworts, which had been considered ?imperfect? because (like fungi) they seemed to lack reproductive structures ? flowers, fruit or seeds. In 1624 Galileo gave his fellow academicians a microscope, and with this novel ?aid to the eyes?, wrote another Linceo, ?our Prince Cesi saw to it that many plants hitherto believed by botanists to be lacking in seeds were drawn on paper? Indeed, these drawings constitute some of the earliest microscopic studies in the history of science. One manuscript is dedicated to illustrations of seaweeds and is the first known sustained study of this subject, while another is a miscellaneous volume that includes 30 prints as well as drawings of fungi and lichen, insects, a bat, a hermaphrodite rat and other curiosities. Introductory essays discuss the importance of these drawings to Cesi?s researches and how the manuscripts made their way into the collections of the Institut de France, their botanical content and place in the history of botanical illustration. All drawings are reproduced as full-plate colour illustrations and accompanied by botanical identifications and commentary. 0 g.…

Hardback.XIV+518 p., 55 b/w ill. + 8 colour ill., 12 b/w tables, 15 b/w line art, 156 x 234 mm, 2015 Languages: English. ISBN 9782503541761. A cross-cultural and cross-temporal journey in the city of Istanbul and its Jewish community from the Ottoman conquest of Constantinople (1453) to the establishment of the Turkish Republic (1923). This book presents ten chapters in the history of the Jewish community of Istanbul from the Ottoman conquest of Constantinople (1453) to the establishment of the Turkish Republic (1923). While delving into specific subjects such as the Romaniot presence in the city, the Karaite society, family life throughout the generations, material culture and its meaning, social life, urban history, economic life, and relations with the Ottoman regime, a common thread binds all of them. Each of the chapters, individually and together, constitutes a journey between different cultures and religions. The history of Istanbul?s Jews carries the imprint of Greek Orthodoxy and Catholicism, as well as Islam. It moves in cycles between the Byzantine and Ottoman realms, between Catholic Europe and the Muslim Ottoman Empire, and finally, between the Ottoman Jewish culture and a modern Europe in the throes of secularization. Over fifty images are included to illustrate the multicultural aspect of the history presented here. The essays in this volume present high quality scholarship, but equally they provide a fascinating insight to general readers with an interest in Constantinople-Istanbul-Qosta, as well as readers interested in Jewish urban history, the transmission of culture, and multiculturalism. Prof. Minna Rozen teaches Jewish History and Philosophy of History at the University of Haifa. She specializes in the history of the early modern and modern Mediterranean and has published extensively in this field. Prof. Rozen has initiated and conducted a number of documentation and digitization projects of Jewish archives, cemeteries and synagogues in Turkey, Greece and Bulgaria, and she is currently working on the establishment of an online, searchable database of digital archives of Jewish tombstones from Turkey. 0 g.…

Hardcover with dusjacket- IV+234 p., 108 b/w ill. + 168 colour ill., 210 x 297 mm, Languages: English . ISBN 9782503554365. The painter Joos van Cleve (c. 1485/90-1540/41) founded an important and influential workshop in Antwerp at the beginning of the sixteenth century. His business instinct and managerial character ensured that the shop ran smoothly and that there were both local and international clients for his output. More than 300 works are currently attributed to Van Cleve and his workshop. It is a remarkably large oeuvre, far exceeding that of any other contemporary Antwerp artist. The paintings that left his shop are of a superb quality and craftsmanship. Van Cleve and his assistants were responsible for lifelike portraits, altarpieces of varying sizes, and the mass production of popular devotional panels with subjects like The Holy Family, The Madonna of the Cherries and The Infants Christ and St John the Baptist Embracing. How, then, is it possible that these paintings are of such a high quality and craftsmanship? This book contains the answer. The international nature of Antwerp?s economy, and of its art trade in particular, made Joos van Cleve and his paintings known far beyond the confines of the Low Countries. Although the information about his life and the composition of his oeuvre was unclear for a long time, Joos van Cleve can now once again be numbered among the great successful painters of the early sixteenth century. Micha Leeflang (1975) studied technical art history at the University of Groningen, where she defended her dissertation ?Uytnemende Schilder van Antwerpen. Joos van Cleve: atelier, productie en werkmethoden? in 2007. From 2005 to 2007 she was on the staff of the Rijksmuseum in Amsterdam as curatorial researcher. Since 2007 she has been a curator at Museum Catharijneconvent in Utrecht, where she was responsible for such exhibitions as Masterly Manuscripts. The Middle Ages in Gold and Ink (2009), and Surviving the Iconoclasm, Medieval Sculpture (2012-2013). In 2011 she was closely involved in the preparations for the exhibition Joos van Cleve, Leonardo des Nordens in the Suermondt-Ludwig-Museum in Aachen. 0 g.…

IV+355 p., 22 b/w ill. + 98 colour ill., 148 b/w line art, 240 x 280 mm , English, Hardcover, dustjacket ISBN 9781909400221. The Liber Floridus (1121), composed, written and illustrated by Canon Lambert of Saint-Omer, is the earliest illustrated encyclopedic compilation of the Latin West. Its autograph (Ghent, University Library, MS 92), a masterpiece of Romanesque book art and one of the most complicated manuscripts ever made, has been studied by the author for almost half a century. The present book is the culmination of this research and provides a detailed codicological and textual analysis, showing how this wonderful book was put together and which are the hidden ideas Lambert sought to develop in its hundreds of texts and pictures dealing with astronomy, geography, natural history, history, religion and countless other subjects. The book is illustrated with some 100 colour reproductions and numerous diagrams of quire structures. Three tables help the reader to understand the author?s argument, and full indices give access to the text and provide the basis for further investigation of individual chapters and pictures. 2135 g.…

Hardcover with dusjacket, 340 p., 58 b/w ill. + 42 colour ill., 216 x 280 mm, 2015 Languages: English. FINE CONDITION . ISBN 9782503555300. This book examines the career of the Brussels artist Michael Sweerts through an examination of the artistic, intellectual and cultural contexts that shaped his work and academy in the Netherlands and Italy in the seventeenth century. The Flemish artist Michael Sweerts has long been considered one of the most fascinating and enigmatic painters of the seventeenth century. His peripatetic career, which stretched from his native Brussels to Rome, and later Amsterdam and the Far East, included work for the papal family and the foundation of a drawing academy in the Southern Netherlands. Despite this rich and varied career, Sweerts has yet to be fully examined within the artistic, intellectual and cultural contexts of Brussels and Rome in the seventeenth century. This book aims to retrace the artistic traditions that shaped Sweerts? development and evolution as a painter, etcher and teacher, firmly situating him at the crossroads of artistic exchange between the Netherlands and Italy. The author demonstrates how Sweerts responded to contemporary notions of artistic practice and pedagogy in his work, and how he played a critical role in the formation of a Netherlandish academic tradition. Approaching Sweerts from these new perspectives, this book examines the classicizing and artistic contexts of Brussels as a center of tapestry production, and reconstructs Sweerts? familial and social networks in the Netherlands and Rome. The artist emerges as a sophisticated figure amongst his contemporaries, including the French painter Nicholas Poussin (1594-1665), his patron, Camillo Pamphilj (1622-1666), nephew of Pope Innocent X, and the Flemish sculptor Francois Duquesnoy (1597-1643). Alongside a consideration of his sensitive scenes of peasants and artists in Rome?s urban landscape and strikingly life-like portraits and head studies, Sweerts? remarkable depictions of artists learning and practicing their profession are contextualized within the evolving conceptions of the academy in the early modern period. The author provides the first inclusive investigation of the artistic and socioeconomic frameworks that surrounded Sweerts? establishment of a drawing academy for artists and tapestry designers in Brussels in the 1650s. She brings to light the academy?s significance as a site of artistic learning and innovation, and the importance of working directly from life, while ultimately redefining Sweerts? place in the history of Flemish art. 0 g.…

Hardcover with dusjacket, 374 pages., 21 b/w ill. + 150 colour ill., 245 x 297 mm, Languages: English . ISBN 9782503516707. The Flemish tapestries collected by the Habsburg rulers of the Low Countries are among the most beautiful art works of the Renaissance period. This book places these important tapestries in their historical and cultural context. Part I of the book examines the relationship between the Habsburgs and the tapestry industry in the Low Countries, the roles of the artists who designed the tapestries, the weavers who made them, and of the tapissiers, the court officials who looked after the royal tapestry collections. This is followed by four chapters which document and survey the collections formed by the Habsburg rulers of the Low Countries: Margaret of Austria, the Emperor Charles V, Mary of Hungary and Philip II of Spain. Part II of the book is a detailed catalogue of thirteen of the most important surviving Habsburg sets. These include such important tapestries as the Honours, the Hunts of Maximilian, the Armorials of Charles V, the Seven Deadly Sins, the History of Vertumnus and Pomona and the Apocalypse. Every tapestry of each set is given detailed analysis and all are reproduced in full colour in over 100 colour plates. An extensive Appendix gives many of the original documents concerning the tapestries as well as the most important surviving Habsburg tapestry inventories from the period. 0 g.…

Hardback. IV+271 p., 115 b/w ill. + 174 colour ill., 210 x 297 mm, 2015 Languages: English. ISBN 9781909400092. This isthe first volume of a series of scholarly catalogues on Flemish paintings from the Szepm?veszeti Muzeum in Budapest. ?Written by Dr Susan Urbach ? emeritus curator of the museum and renowned scholar of Northern Renaissance Art ? with the assistance of curator Agota Varga and picture-conservator Andras Fay, the catalogue includes extensive entries and bibliographical references on 49 works dating from c. 1460 to c. 1540. The volume covers about a third of the entire collection of Flemish Painting from the 15th century through to the 17th and includes the latest results of scholarly research and technical analysis. 0 g.…

Hardback with dusjackets Languages: English 2 volumes set; , approx. 560 p., 95 b/w ill. + 120 colour ill., 180 x 265 mm Fine copy. ISBN 9781872501710. The paintings that Rubens devoted to the theme of the youth of Christ are among the most impressive and influential examples of art that expressed Roman Catholic spirituality as reasserted at the Council of Trent. The vast majority of these works are his numerous images of the Adoration of the Shepherds and the Adoration of the Magi. The oldest sources for these and other scenes from Christ's youth are of course the accounts of the Gospels, but these were usefully completed by several supplementary descriptions, more especially the Apocrypha, patristic literature, and the pious legends woven around the birth of Christ in the course of the Middle Ages. In his interpretations of the scenes from Christ's youth, Rubens built to a large extent on a pictorial tradition that had developed in the Low Countries and Italy in the fifteenth and sixteenth centuries, in which mediaeval views and patterns originating from Northern Europe had merged with those of the Italian Renaissance. In Rubens's representations of scenes from Christ's youth, and especially in his many interpretations of the themes of the Adoration of the Shepherds and the Adoration of the Magi, the ideas of Counter-Reformation iconography found their most explicit embodiment in the clear Eucharistic connotations that are present in these works. 0 g.…

Hardback, IV+388 p., 122 b/w ill. + 22 colour ill., 220 x 280 mm, 2015 Languages: English. ISBN 9782503555584. The relationship between early modern Italy and its medieval past has become the object of new interest and debate in art history. To a certain extent, other fields of scholarship, such as history, history of literature, and history of philosophy, have remained alien to the discussion. Yet, the emergence of the humanities as autonomous disciplines in the nineteenth century was predicated on the arduous and sophisticated scrutiny and re-thinking of the ?divides? in the history of western Europe and their hermeneutical validity. Articulating the division between ancient / medieval and medieval / Renaissance has been particularly important in this discourse. At present, although the interpretation of the medieval / Renaissance divide no longer rests on the oversimplifying binomial of continuity / discontinuity, the identification and assessment of what historically constitutes a break, a transition, a regression, or a novelty are still topics of contention and ambivalence. Remembering the Middle Ages in Early Modern Italy approaches these important interpretive issues through the fresh lens of case studies carried out by scholars from the diverse fields of history of art and architecture, history of literature, and philosophy. In these essays, the notion of ?remembrance? is examined and inflected in multiple ways: as memory and survival, as a process of distance and clarification, and as nostalgia, repudiation, and revival. Remembering the Middle Ages also offers an updated survey on the ways in which the medieval / Renaissance divide was originally constructed in the fifteenth and sixteenth centuries and subsequently interpreted from Jacob Burckhardt?s The Civilization of the Renaissance in Italy (1860) to the present day. Lorenzo Pericolo is Associate Professor of History of Art at the University of Warwick. He is the author of Caravaggio and Pictorial Narrative: Dislocating the Istoria in Early Modern Painting (2011). With the Center for Advanced Studies in the Visual Arts (Washington DC), he is preparing the critical edition of the life of Guido Reni by Carlo Cesare Malvasia. Jessica N. Richardson is Wissenschaftliche Assistentin at the Kunsthistorisches Institut in Florenz ?Max-Planck-Institut (Florence) in the Department of Gerhard Wolf. She was Research Associate at the Center for the Advanced Study in the Visual Arts (Washington DC) then Amherson Fellow at Villa I Tatti (Florence). She is currently working on a book on the creation and treatment of medieval miraculous images in Bologna between the fourteenth and the seventeenth centuries. Table of Contents Introduction ? Jessica N. Richardson Antiquitas and the Medium Aevum: The Ancient / Medieval Divide and Italian Humanism ? Frederic Clark Vasari in Practice, or How to Build a Tomb and Make it Work ? C. Jean Campbell Shifting Identities: Jacopo Campora?s De Immortalitate Anime from Manuscript to Print ? Eugenio Refini Leon Battista Alberti: ?Philology? of Forms and Time in Sant?Andrea, Mantua ? Arturo Calzona Did Siena Have a Renaissance? ? Jane Tylus Persistence and Polychronicity in Roman Churches ? Dale Kinney Pulci?s Morgante and the End of a Medieval World ? David Quint Incorporating the Middle Ages: Lazzaro Bastiani, the Bellini, and the ?Greek? and ?German? Architecture of Medieval Venice ? Lorenzo Pericolo Dante and Petrarch in Giovan Battista Gelli?s Lectures at the Florentine Academy ? Federica Pich Medieval Column Crosses in Early Modern Bologna ?Jessica N. Richardson Serving Christ: The Assumption Procession in Sixteenth-Century Rome ? Kirstin Noreen Changing Historical Perspectives? Giovan Pietro Bellori and the Middle Ages in Rome ? Elisabeth Oy-Marra Visual Evidence and Periodization in Giulio Mancini?s Observations on Early Christian and Medieval Art in Rome ? Frances Gage Epilogue: The Shifting Boundaries of the Middle Ages: From Die Kultur der Renaissance in Italien (1860) to Anachronic Renaissance (2010) ? Lorenzo Pericolo 0 g.…