37 résultats
17972090202122800695Naniwa Shorin Shinsaibashi Street Otsukaya / Sobei 1797. Soft Cover. Fine. Size: 26x18 Naniwa Shorin Shinsaibashi Street Otsukaya / Sobei paperback
17875783... et suivies d'un catalogue raisonné d'une collection choisie d'estampes. Mit gest. Frontispiz von J. Mechau. Dresden u. Leipzig, J. G. I. Breitkopf, 1787. 8vo. (19,8 x 12,2 cm). XLVIII, 710 S., 1 leeres Bl. Halblederband d. Zt.
17892110502150908283Not Available 1789. Soft Cover. Fine. Number of books: 1 Not Available paperback
17922110502150906716Not Available 1792. Soft Cover. Fine. Number of books: 1 width Not Available paperback
17932110502150900667Souzanbozo 1793. Soft Cover. Fine. Number of books: 5 Souzanbozo paperback
1800038037Paris Circa 1800 1800. 1st Edition 1st Printing. No Binding. Very Good. Original Engraving. Part Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Antoine Arnauld 1612 - 1694 - Le Grand As Contemporaries Called Him To Distinguish Him From His Father - Was A French Roman Catholic Theologian Philosopher And Mathematician. He Was One Of The Leading Intellectuals Of The Jansenist Group Of Port-Royal And Had A Very Thorough Knowledge Of Patristics. He Was One Of The First To Adopt The Philosophy Of René Descartes Though With Certain Orthodox Reservations Relating To Meditations On First Philosophy; And Between 1683 And 1685 He Had A Long Battle With Nicolas Malebranche On The Relation Of Theology To Metaphysics. On The Whole Public Opinion Leant To Arnauld's Side. When Malebranche Complained That His Adversary Had Misunderstood Him Boileau Silenced Him With The Question: "My Dear Sir Whom Do You Expect To Understand You If M. Arnauld Does Not" Later Arnauld Was Engaged In An Extensive Correspondence With Gottfried Wilhelm Leibniz Regarding The Latter's Views Detailed In His "Discourse On Metaphysics" 1686. Popular Regard For Arnauld's Penetration Was Much Increased In His L'art De Penser Commonly Known As The Port-Royal Logic Which Kept Its Place As An Elementary Text-Book Until The 20Th Century And Is Considered A Paradigmatical Work Of Term Logic. Arnauld Came To Be Regarded As Important Among The Mathematicians Of His Time; One Critic Described Him As The Euclid Of The 17Th Century. After His Death His Reputation Began To Wane. Contemporaries Admired Him As A Master Of Intricate Reasoning; On This Jacques-Bénigne Bossuet The Greatest Theologian Of The Age Agreed With Henri François D'aguesseau The Greatest Lawyer. However His Eagerness To Win Every Argument Endeared Him To No One. "In Spite Of Myself" Arnauld Once Said Regretfully "My Books Are Seldom Very Short."Citation Needed. Despite Arnauld's Achievements In Various Fields His Name Is Mostly Known Because Of Pascal's Acclaimed Writings Which Were More Fit For The General Public Than Arnauld's Technical Essays. Wikipedia <br/> <br/> unknown
1719038056Paris 1719. 1st Edition 1st Printing. No Binding. Very Good. Original Engraving. Trimmed To Margins All Around. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Antoine Houdar Or Houdart Of La Motte Born On January 17 1672 In Paris Where He Died On December 26 1731 Is A French Writer And Playwright . He Held An Important Place In The Literary Life Of His Time By His Writings And His Conceptions. In The Salon Of The Marquise De Lambert Whose La Motte Was One Of The Pillars With His Friend Fontenelle With Whom He Shared An Absence Of Prejudice And A Spirit Of Investigation The Question Was Considered Of Whether Versification Was Indispensable To Poetry. It Was Ultimately Thought That The Verse Rendered The Poet Slave With Superfluous Complicated And Harmful Rules Which Favored The Ankles And Periphrases And Hindered The True Expression Of Poetry. It Was Advocated To Return To The Sharpness And Firmness Of Prose Especially In The Theater For Reasons Of Naturalness. Houdar De La Motte Wanted To Demonstrate That Prose Could Very Well Serve Poetry. He Gave Fenelon's The Adventures Of Telemachus As An Example In This Sense And Put In Prose A Scene Of Mithridates Of Racine.His Reputation Today Rests On The Excellent Prose In Which He Expressed His Views Much Better Than His Verses Hard And Colorless. We Also Remember That He Refrained From Answering A Letter From Jean-Philippe Rameau Who Would Have Liked To Put One Of His Librettos To Music: Probably A Great Opportunity Missed By Houdar De La Motte. But More Than By His Productions It Is By His Role In The Movement Of Ideas And By The Important Place He Occupied In The Literary Life Of His Time That The Name Of Houdar De La Motte Has Reached Us. "He Proved According To Voltaire That In The Art Of Writing One Can Still Be Something In The Second Rank. "French Wikipedia. Gérard Edelinck 20 October 1640 Baptized - 2 April 1707 Was A Copper-Plate Engraver And Print Publisher Of Flemish Origin Who Worked In Paris From 1666 And Became A Naturalized French Citizen In 1675; His Son Nicolas-Etienne Edelinck Did This Engraving. <br/> <br/> unknown
17683883FBNürnberg, verlegt durch Johann Andreas Endter, 1768-1775. 2°. 41,5 x 27,5 cm. XXXVII, 94; 90; 32; 130; 116; 188; 424; 226 Seiten, [24] Blatt. Insgesamt 801 Tafeln. Halblederbände der Zeit auf 6 Bünden mit marmoriertem Deckelbezug. Band I,3 abweichend in hellerem Halbleder im Stile der Zeit gebunden. [8 Warenabbildungen]
17642111902160200912Hanaya Kyujiro 1764. Soft Cover. Fine. Size: 22.7cmx15.5cm Number of books: 2 Hanaya Kyujiro paperback
17882110502150901615Tsuta-ya-ban 1788. Soft Cover. Fine. Volume: 1 Tsuta-ya-ban paperback
17741057AG1774. Schabkunstblatt von Aug. Vind nach J. Elias Haid. Bildgrösse: 14 x 10 cm. Blattgrösse: 32 x 26 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +
17741057AG1774. Schabkunstblatt von Aug. Vind nach J. Elias Haid. Bildgrösse: 14 x 10 cm. Blattgrösse: 32 x 26 cm.
