‎Painting‎

‎[FRESNAYE (Roger de la )] MUSÉE NATIONAL D'ART MODERNE‎

‎Roger de la Fresnaye - 4 juillet-8 octobre 1950‎

‎Paris, Musée National d'Art Moderne, 1950, 48+12 pp., 16 X 22 cm, br. Ouv. ill. 10 pl. n.b. h.t., fontispice phot. n.b , couv. ill. Péface La Fresnaye Peintre de France par Bernard Dorival Conservateur au Musée National d'art Moderne.‎

‎T Bel ex. de ce catalogue ill.‎

Bookseller reference : 3735

‎[HÜSEYIN] AVNI LIFIJ, (1886-1927).‎

‎Avni Lifij, (1886-1927). [Exhibition catalogue]. Prep. by Veysel Ugurlu. Text by Ahmet Oktay.‎

‎New Turkish Paperback. 4to. (29 x 24 cm). In Turkish. 75 p., color ills. Avni Lifij, (1886 - 1927). [Exhibition catalogue]. Prep. by Veysel Ugurlu. Text by Ahmet Oktay.‎

‎[JADIKAN] Sylvie VINCENT‎

‎CHOREGRAPHIES NOCTURNES‎

‎Un ouvrage de 72 pages, format 205 x 235 mm, illustré, broché couverture couleurs, publié en 2016, Impr. Deux Ponts, bon état‎

‎Edité à l'occasion d'une exposition organisée à la Maison Bergès, en Isère‎

Bookseller reference : LFA-126721458

‎[MATISSE] MUSÉE NATIONAL D'ART MODERNE‎

‎Rétrospective Henri Matisse - 28 juillet - 18 novembre.‎

‎Paris, Édition des Musées Nationaux, 1956, 68 pp. 21 X 27 cm, br. Ouv. ill. 31 pl. n.b. h.t. Couv. ill. coul. Catal. réalisé par Mme Gabrielle Vienne. Préface de Jean Cassou Conservateur en Chef du Musée National d'Art Moderne.‎

‎T. bel ex. de ce catalogue ill. de l'exposition rétrospective consacrée au Peintre deux ans aprés sa disparition.‎

Bookseller reference : 3707

‎[MEMLING] .- St. Jans Hospitaal Brugge.‎

‎Hopital St Jean Muse Hans Memling.‎

‎Bruxelles, Ern. Thille (n.d. ca. 1950). 21 plates in helio-engraving. Oblong 8vo (20,5 x 15 cm.). Original decorative wrappers.‎

Bookseller reference : 2178

‎[PEINTURE ESPAGNOLE] PALAIS DU LOUVRE‎

‎Trésors de la Peinture Espagnole, églises et musées de France - janvier-avril 1963‎

‎Paris, Palais du Louvre - Musée des Arts Décoratifs - Ministère d'État Affaires Culturelles, 1963, 326 pp., 16 X 21,3 cm , br. Ouv. ill. phot. coul. & n.b. h.t. Couv. ill. coul. Goya : La Junte (détail)- Fontispice coul. Zurbaran : Sainte Lucie.‎

‎Trés bel ex. de ce catalogue rich. ill.‎

Bookseller reference : 3715

‎[PEINTURES CHINOISES ET JAPONAISES] [ULRICH ODIN]‎

‎Peintures Chinoises et Japonaises de la Collection Ulrich Odin‎

‎Bruxelles et Paris, Librairie Natnale d'Art et d Histoire G..Van Oest & Cie, Editeurs, Paris, 1929. 1 volume in-folio, 53 pp., illustré de 31 planches, broché, non coupé, une très légère mouillure marginale sur les premiers feuillets, sinon bon exemplaire.‎

‎Avec une Introduction et des Motices de Monsieur Ulrich Odin et un Avanyt-Prpos de Monsieur Sylvain Levi. Ce volume constitue le Volume XIV de la Collection Ars Asiatica qui se propose de présenter et d'analyser les différentes fascettes des arts asiatiques, chinois, indiens , kmers, siamois, javanais.La Collection complète comportera 18 volumes aujourd'hui très recherchés.‎

Bookseller reference : 7342

‎[Pirovano, Carlo (Ed.)]‎

‎Rembrandt incisore.‎

‎(Milano), Electa (1981). 141 S., mit zahlr. Abb., OKart. 1 Beigabe: Rembrandt, sein Kreis und seine Zeit. 6. Ausstell. d. graph. Kabinetts d. Stiftes Göttweig 1965. 57 S., mit 8 Bildtaf., ill. OKart., klammergeh. (in Deutsch). In Italienisch.‎

Bookseller reference : EEzz8295n

‎[ROEGIEST] BREL - LARTEGUY et Alii.‎

‎DESIRE ROEGIEST. Catalogue d'exposition à la Galerie Christine Colas, Paris.‎

‎in-4 carré, non paginé, nombreuses illustrations en couleurs, cartonnage. VG+++ - Tres bel exemplaire. [QU-6]‎

‎[Réveil, Etienne Achille] and [Jean Duchesne Ainé]‎

‎[Konvolut von Umrißkupfern von Gemälden und Skulpturen alter Meister]. - Museum of Painting and Sculpture or Collection of the principal pictures, statues and bas-reliefs in the public and private Galleries of Europe. Drawn and etched by Réveil: With descriptive, critical and historical notices by Duchesne Senior. - Musée de peinture et de sculpture, ou recueil des principaux tableaux, statues et bas-reliefs des collections publiques et particulières de l'Europe. Dessiné et gravé à l'eau forte par Réveil, avec des notices descriptives, critiques et historiques, par Duchesne Ainé.‎

‎Ohne Ort und Verlag [London, Bossange, Barthés and Lowell / Paris: Audot] [1830]. 52 blattgroße Umrißkupfer von Achille Réveil mit jeweils ein- bis vierseitigen Beschreibungen und Kommentaren in französischer und englischer Sprache. Unbeschnittener Block. 8° (19 x 12 cm). Interimspappband der Zeit.‎

‎Enthält in unsystematischer Anordnung und Numerierung über 50 Umrißkupfer Alter Meister flämischer Schule (Flemish school - École flamande), darunter zahlreiche bekannte Darstellungen. Die Beschreibungen in englischer und französischer Sprache geben Informationen zu den Künstlern, den Gemälden, dem Aufbewahrungsort und Größenangaben. - Seinerzeit einzige und günstigste Möglichkeit der Bildreproduktion und visuellen Vermittlung bildender Kunst; offenbar konnten Interessenten thematisch sortierte Serien aus dem insgesamt über 14 Bände mit über 1000 Umrißkupfern umfassenden Gesamtwerk einzeln beziehen. - Berieben, fleckig und bestoßen. Außengelenke beschabt und mit Einrissen. - Innen durchgehend braun- und stockfleckig, Blattränder stärker. Die Darstellungen ebenfalls betroffen. - Textblätter und Hemdchen an die Tafeln angefalzt, dadurch einige Blätter gelöst. Einige Wasserränder. - Erstes Blatt mit altem Bibliotheksstempel. - Insgesamt noch ordentlich, aber nicht gut erhalten.‎

Bookseller reference : 1045852

‎[VAN-GOGH] ORANGERIE DES TUILERIES‎

‎Van-Gogh et les Peintres d'Auvers-sur-Oise‎

‎Paris, Éditions des Musées Nationaux, 1954, 100+32 pp.13,5 X 18 cm, br. Ouv. ill. 32 pl. n.b. h.t. Introduction de L. Van Ryssel (Paul Gachet fils), préface de Germain Bazin, notices d'Albert Chatelet.‎

‎T. bel ex de ce catalogue.‎

Bookseller reference : 3700

‎\Astounding Stories\ \cover painting by Howard V. Brown\ \Jack Williamson John Russell Fearn Donald Wandrei C. L. Moore Clif‎

‎ASTOUNDING STORIES SEPTEMBER 1935 VOLUME XVI NUMBER 1‎

‎New York: Street & Smith Publications. New York: Street & Smith Publications. Good. 1935. First Edition. First edition. Pulp magazine. Pictorial wrappers about 6.75" x 9.75" 160 pages last numbered page is 158 illustrated. Includes Part I of "Islands of the Sun" by Jack Williamson "The Blue Infinity" by John Russell Fearn 'Earth Minus" by Donald Wandrei "Greater Glories" by C. L. Moore "Sky Rock" by Frank Belknap Long Jr the conclusion of "twelve Eighty-Seven" by John Taine etc. Good or better copy light chipping to the spine head short line of abrasion to the front spine edge edgewear to the cover tear to the upper right corner of the rear cover cheap paper fully tanned. . . Good. y First Edition. 1935. Street & Smith Publications unknown‎

Bookseller reference : 72398

‎a cura di F. Lechi, con una lettera di R. Longhi.‎

‎Quadri (I) delle Collezioni Lechi in Brescia. Storia e documenti‎

‎cm. 17 x 25, 238 pp. con 8 ill. n.t. e 74 tavv. f.t. 760 gr. 238 p.‎

‎A cura di R. Pallucchini.‎

‎Tiziano e il Manierismo europeo.‎

‎cm. 17,5 x 25, 468 pp. con 201 ill. f.t. Fondazione Giorgio Cini - Civilt? veneziana - Saggi 1219 gr. 468 p.‎

‎A FINE MINIATURE PAINTING OF A FUNERAL SCENE FROM A BOOK OF HOURS IN LATIN‎

‎BEGINNING OF THE OFFICE OF THE DEAD‎

‎Paris early 15th century. 178 x 125 mm. 7 x 5". Text in single column four lines on recto 15 lines on verso in an excellent gothic book hand. A FINE SQUARE MINIATURE SHOWING A FUNERAL SERVICE two priests reciting from an elevated lectern and next to a large draped coffin mourners in black seated to the left the activity taking place inside a space enclosed by elegant columns and under a vaulted ceiling a lovely four-line initial beneath it in burnished gold and several colors infilled with ivy leaves in white and orange other one- or two-line initials in blue with red penwork or on the verso in burnished gold and colors THE MINIATURE SURROUNDED BY AN EXQUISITE FULL BORDER OF IVY LEAVES in colors or gold on painted and hairline stems. Remains of mounting hinge at top a few speckles a bit of yellowing and slight wrinkling in margins but the leaf very well preserved in general with no significant flaking of paint and with the gold still bright. Apart from those relatively few copies with illustrated calendars the miniatures found in Books of Hours are almost entirely devoted to retrospective Bible scenes that are obviously outside the experience of the illuminator; it is only in the present kind of funeral scene at the beginning of the Office of the Dead that we can see a contemporaneous rendering of a scene from the daily life of the Middle Ages. Miniatures that begin the Office of the Dead vary more in iconographic terms than any of the others that recur in the Book of Hours and while our painting is typical in subject matter and design it is noteworthy in at least a couple of ways. The frame and border here are beautifully executed in the style of the Boucicaut Master with much delicate and very elaborate painting all of which is shown to good advantage inside unusually comfortable margins. And although the miniature itself shows in general a relatively primitive attempt at perspective for example the pews and the altar are steeply raked the presence of the lovely slender column in the foreground in concert with the darkened vaulting behind the altar gives the painting a convincing sense of depth.The work here was done by an artist under Parisian influence and the developed architecture suggests that the painter was familiar with the Burial Services compositions created by Parisian illuminators in the 1410s. see Millard Meiss "French Painting in the Time of Jean de Berry: Boucicaut Master" London 1968 figs. 135-50 and 172-74. unknown‎

Bookseller reference : ST12829

‎A PRINTED VELLUM LEAF WITH A VERY FINE EXTREMELY LARGE ILLUMINATED MINIATURE PAINTING OF THE MASSACRE OF THE INNOCENTS FROM A‎

‎TEXT FROM VESPERS‎

‎Paris: Gilles Hardouin ca 1510. 222 x 140 mm. 8 3/4 x 5 1/2". Single column 30 lines of text gothic typeface. Attractively matted. Verso with elaborate metalcut compartmentalized border featuring mischievous putti and grotesques the martyrdom of Saint Sebastian and a woman shearing a sheep; the same side with 18 one-line hand-painted initials in gold on a blue or red ground two similar two-line initials and one three-line foliated initial in gold on a red ground; recto WITH A RICHLY PAINTED AND ILLUMINATED WOODCUT OF THE MASSACRE OF THE INNOCENTS with a glimpse of the flight into Egypt on the left side of the scene. A touch of wrinkling to lower outer corner verso with remnants of mounting tape otherwise A VERY FINE LEAF the printing clear and fresh the colors vivid and the gold lustrous. The massacre depicted here appears to be taking place in Herod's throne room as if he had ordered it for his own entertainment. Seated in the center of the piece on a massive gold throne he views the heartbreaking chaos before him impassively ignoring an angry women who is lifting her bleeding infant up to him as if to say "See what you've done!" The mothers here are not wailing in grief but are angrily fighting for their sons' lives. In the foreground a soldier pushes a golden-haired woman out of the way in order to finish off the dazed and wounded infant she and her companion are attempting to shield. On either side soldiers have raised swords to smite the helpless tots and to the right of Herod a bleeding infant looks pitifully up at the armored solder who holds him by the arm ready to deliver the fatal blow. In the upper right we see a baby impaled on a spear. A glimpse of hope through an open window mitigates the horror of the gruesome scene: we see Joseph leading a donkey bearing the Virgin and the Christ Child as they flee to Egypt blessed by golden rays streaming down from heaven. The action here is dramatic intense and memorable; the colors are vivid the heavy use of gold adding light to an overwhelmingly sober subject. The Book of Hours from which this leaf came must have been extraordinarily sumptuous. Gilles Hardouin, ca unknown‎

Bookseller reference : ST11712

‎A. Balis;‎

‎Hunting Scenes, volume II / PART XVIII Corpus Rubenianum Ludwig Burchard‎

‎Turnhout, Brepols, 1986 Hardback, 406 pages , 145 b/w ill., 180 x 265 mm. volume II fine ISBN 9780199210411.‎

‎Dr. Balis explores examines in the greatest detail Ruben?s paintings and drawings of hunting scenes and thereby throws a fascinating light on the society in which the artist lived, bringing the hunting scenes together for the first time in a definitve catalogue raisonne. Rubens may be said to have revived the genre of hunting scenes, a theme whose popularity had declined since the Middle Ages. Moreover, he enriched the courtly allusions and contemporary preoccupations. Dr. Balis explores this updating of the genre by examining in the greatest detail Ruben?s paintings and drawings of hunting scenes and thereby throws a fascinating light on the society in which the artist lived. This volume brings the hunting scenes together for the first time in a definitve catalogue raisonne that documents both the precedents for and the originality of Rubens?s development of hunting iconography, and argues that the prolific production of Flemish animal painters in the 17th century owes its very existence to Rubens?s example and his creation of a sympathetic audience. Both text and catalogue discuss the ever-important questions of what part Rubens himself played in the execution of these sometimes huge canvases, since he seems to have relied in some degree on the assistance of his studio or of specialized animal painters. Languages: English.‎

Bookseller reference : 37233

‎A. Chatelet, N. Goetghebeur;‎

‎musee des Beaux-Arts de Lille,‎

‎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.‎

Bookseller reference : 37190

‎A. Drandaki et al eds.‎

‎Heaven and Earth I - The Art of Byzantium from Greek Collections‎

‎<p>In english. Soft cover 24X32 cm 364 pp. 395 images; net weight 2230 gr.</p><p>==============================================================</p><p><strong><em><strong>This book is much heavier than average. The shipping cost estimated by the system covers books weighing up to 750 gr.; a surcharge depending on the actual weight and destination applies for heavier books. The actual shipping cost for this book is EUR 30.50 for EU-countries and Switzerland; EUR 39.00 for all other countries. </strong></em></strong></p> Benaki Museum paperback‎

Bookseller reference : S6959

‎A. Janssens de Bisthoven;‎

‎musee communal des Beaux-Arts (musee Groeninge), Bruges. I,‎

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

‎Languages: French.‎

Bookseller reference : 37176

‎A. Leyeless‎

‎Amerika un Ich [IN YIDDISH]‎

‎IN YIDDISH. 24x15 cm. 127 pages. Gilt hardcover. In good condition.‎

‎A. Massing;‎

‎Painting Restoration Before the Restauration. The Origins of the Profession in France,‎

‎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.‎

Bookseller reference : 32442

‎A. Stones‎

‎Gothic Manuscripts: 1260-1320. Part One‎

‎, Brepols - Harvey Miller, 2013 Hardcover. 2 vol., 1130 p., 838 b/w ill. 77 colour ill., 230 x 330 mm, Languages: English, Including an index. Fine copy. ISBN 9781872501956.‎

‎This book traces the cultural context of book illustration, its production, owners, and makers in the various regions of France in the last third of the thirteenth and beginning of the fourteenth centuries. The period c. 1260-1320 marks the emergence and the flowering of what has come to be known as the ?courtly style? in French painting, whose dynamic vitality is manifest throughout the region we now call France. By the end of this period French art had assimilated a rich variety of regional works and styles. New texts had been introduced to a range of patrons, and patterns to be played out in the following centuries were in place. This book traces the cultural context of book illustration, its production, owners, and makers in the various regions of France in the last third of the thirteenth and beginning of the fourteenth centuries. While the royal, courtly, academic and ecclesiastical patrons were critical to the cultural and artistic production of the capital, books made in provincial centres manifest an independence and originality that can be attributed to fruitful interaction with neighbouring cultures?the linguistic, literary, and artistic traditions of England in the north and west, Navarre, Aragon, the county of Barcelona and the Kingdom of Majorca in the Pyrenean regions, and the Empire along the eastern borders, from the principalities of North Italy and the Alpine regions to Burgundy, Hainaut and Flanders. Ecclesiastical boundaries cut across political divisions, contributing different sets of allegiances that impacted upon book culture in other ways. The Provinces of Reims and Tarantaise included fiefs of Empire, while Narbonne (to 1317) encompassed dioceses in Aragon, and the Provinces of Bordeaux and Tours lay in part in lands held by the English. The religious orders and the universities offered other sets of governing structures and vehicles of influence and reception. Royal and courtly patrons took their place in this period alongside churchmen and women and layfolk from the burgeoning bourgeois class, many of whom are known from ownership notes or inventories. Yet some of the finest books of the period were made for people whose identity remains obscure. Similarly the names of craftsmen?scribes, decorators, illuminators?are often known from their signatures in the books they made or from payments and other records, yet many distinguished works are the products of anonymous creators. These years witnessed an explosition in the range of texts that were deemed worthy of illustraton, extending far beyond the usual liturgical and devotional material to include works of science, medicine, law, philosophy, history and literature in verse and prose, offering a wealth of material for comparative study which is only beginning to be exploited in modern scholarship. This book is organized according to production in regional centres based on stylistic analysis and by comparative tables of the illustration of liturgical and devotional books, and a selection of romances, legal and historical works. Part 1 comprises the Introduction, the Lists of the Producers (scribes, illuminators and decorators) and Patrons whose names are known, followed by a Catalogue of Manuscripts made in the North (Paris and the Province of Sens, Normandy, the Province of Reims). Part 2 contains the Catalogue of Manuscripts made in the East, South-East, South-West, West and Centre, followed by the Comparative Tables and Index of Manuscripts Cited.‎

Bookseller reference : 45773

‎A. SÜHEYL ÜNVER, (1898-1986).‎

‎Istanbul risaleleri. 5 volumes set.‎

‎New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 5 volumes set: (413 p.; 316 p.; 340 p.; 324 p.; 372 p.), color and b/w ills. Istanbul risaleleri. 5 volumes set.‎

‎A.-H. Allirot;‎

‎Filles de roy de France Princesses royales, memoire de saint Louis et conscience dynastique (de 1270 a la fin du XIVe siecle),‎

‎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.‎

Bookseller reference : 37381