326 résultats
195358420BBZurich Editions Girsberger 1953. Quer-4°. 248 S. Mit ca. 300 fotografischen Abbildungen, Grund- und Aufrissen, Entwürfen und Plänen, Modellen etc. Originalleinwand.
1987127092Musée des beaux-arts, La Chaux-de-Fonds, 1987. 80 S. ; 22 x 22 cm ; kart. ;
1987126968Éditions du Centre Georges Pompidou, Paris, 1987. 497 S. ; 30,5 x 22 cm ; Leinen.
2009127170Fondation Le Corbusier, Paris, 2009. 22 S. ; 29,5 x 16 cm ; broschiert.
20112-2296547877Editions L'Harmattan 2011. Paperback. New. 358 pages. French language. 9.37x6.06x1.34 inches. Editions L'Harmattan paperback
19513031Paris: np 1951. first edition. folder. Very Good. UNIQUE ANNOTATED TYPESCRIPT SIGNED WITH TWO FULL PAGES OF LE CORBUSIER DRAWINGS PRESENTING ONE OF HIS MOST FAMOUS AND INFLUENTIAL PHILOSOPHICAL ACHIEVEMENTS. Born in 1887 Le Corbusier found himself situated between two competing historical and architectural moments: an intricate history of grandiose Gothic and Renaissance style and the sleek efficient creation of the Second Industrial Revolution. In his canonical 1923 Towards an Architecture Le Corbusier argued that modernity must be matched with architectural innovation. Functionality took a core place in Le Corubusier’s thinking. Houses were to be understood as machines for living said Le Corbusier famously and machines were to be governed by the economies in which they existed. From this conviction came Le Corbusier’s famous villas his massive housing blocks in the suburbs of Paris and perhaps most importantly a fathering of modern architecture as defined by an emphasis on function simplicity and new material Towards an Architecture.<br /> <br /> In 1942 Le Corbusier was asked to create a universal measurement for construction materials. What Le Corbusier deemed necessary was not only the creation of a new unit but the arduous task of unifying metric and Anglo-Saxon systems integrating the inch and the centimeter into one intuitive scale. Although an ambitious project this unification coined Modulor existed within the ethos of Le Corbusier’s New Architecture. As Le Corbusier identified it the importance of an architect was in their giving of “a physical order which we feel to be in accordance with that of the world.†This order was not only in aesthetic sleekness but in an ethos of design that mirrored the social moral and political reality surrounding the architect. Therefore units of measurement —as enablers of creation—were to reflect modern efficiency with new universal standards Towards an Architecture.<br /> <br /> It was not immediately clear what should be the basis for the new standardized units. Metric and Anglo-Saxon systems after all are based on different ‘orders’—a meter defined by the speed of light a law of science; a foot defined by the proportions of the human body. Le Corbusier framed this tension in this rare manuscript: “the human body exists on one side and the mathematicians on the other.â€<br /> <br /> Le Corbusier struggled with the concept of the Modulor over many years and the present text dated by Le Corbusier 28/1/1951 represents a more mature and developed presentation of his theories. It reads as a manifesto-like preamble to the Modulor’s ambitions in the postwar world: to “harmonize the flow of worldwide production†to systematize standardization without deadening compromise and to reduce the friction of incompatible systems metric versus foot–inch. Le Corbusier presents the Modulor as a human-scale “gamut†of measurements—explicitly compared to the musician’s scale—grounding chosen dimensions in bodily proportion and number. He invokes the golden ratio and the Fibonacci series as ordering principles and includes the well-known endorsement attributed to Einstein “a scale of proportions that makes the bad difficult and the good easy†framing the Modulor as a tool of order rigor and harmony applicable from the architect’s drafting table to the engineer’s office and the building site.<br /> <br /> The two full drawing sheets marked with figure callouts e.g. “Fig. 35…†“Fig. 65…†“Fig. 100…†and geometric/proportional constructions including a right-angle scheme marked “90°†and φ symbols reinforce the document’s working character: argument paired with visual proof capturing Le Corbusier’s drive to make proportion not merely theoretical but operational.<br /> <br /> Although we haven’t been able to find this exact text published anywhere the present typescript closely aligns—often in phrasing and argumentative sequence—with Le Corbusier’s published presentation of the Modulor and can be read as a self-contained “preamble†distilled from that larger project. However the dated and signed terminal leaf 28 January 1951 and the presence of working ink annotations and separate diagram leaves with figure callouts suggest an independent studio or promotional iteration rather than a simple excised page from a printed book documenting the Modulor as an evolving actively circulated tool.<br /> <br /> The Modulor proved enduringly influential as a conceptual and pedagogical framework for proportion—reinforced by its use in Le Corbusier’s own buildings and its broad afterlife in architectural discourse—even as it never achieved its founder’s ambition of becoming a universally adopted international standard of measurement.<br /> <br /> Paris: January 28 1951. Text in French. 6 leaves each approx. 8.25 × 10.75 in.; with writing or drawings on rectos only including 4 typed leaves with ink annotations and small drawings; 2 leaves of original drawings; last typed leaf signed and dated. In excellent condition with only very light toning and minor handling wear consistent with working material. English translation available upon request.<br /> <br /> A UNIQUE FIRST-HAND ACCOUNT WITH NUMEROUS DRAWINGS PRESENTING ONE OF LE CORBUSIER'S CORE PHILOSOPHIES. np unknown
1909R200132247Charpentier / Fasquelle. 1909. In-12. Broché. A relier, Coins frottés, Manque en coiffe de pied, Quelques rousseurs. 306 pages - dos fendu, ouvrage partiellement désolidarisé, coiffe en tête abimée, rousseurs sur les plats.. . . . Classification Dewey : 840.091-XX ème siècle
2017BN179227LARCIER 2017. 2017. Softcover. Le notaire et son client : de conseiller à confident de 7 à 77 ans <br/><br/>Le notaire et son client : de conseiller à confident de 7 à 77 ans Baugniet Nathalie; Bertouille Dominique; Frésart Charles-Edouard de; Frésart Michel de; Collectif LARCIER paperback
2024BN203544LGDJ 2024. 2024. Softcover. Le statut des baux commerciaux: Textes et commentaires - Modèles d'actes <br/><br/>Le statut des baux commerciaux: Textes et commentaires - Modèles d'actes Brault Charles-Edouard; Barbier Jehan-Denis LGDJ paperback
1527721108.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1104139502.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1341050556.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
0266750885.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1019989920.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1887727Paris : Librairie des bibliophiles (impr. Jouaust et Sigaux), 1887 In-4, 335 x 230 : (2 ff.), XIV, (1 f.), 191 pp., couverture illustrée Demi-maroquin bleu-roi à la bradel, à large coins, dos lisse, couverture et dos conservés (Carayon).
0484244248.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
0656873027.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1527604373.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1925R3278Québec: L'Imprimerie d'Arthabaska Inc. Imprimeur 1925 RARE. Nombreuses photographies en n.& b. hors-texte; frontispice de l'auteur. Quart de reliure de cuir noir avec quatre faux nerfs au dos dorés au filet; titrage doré au dos; roulette à froid sur la longueur du cuir; plats marbrés; tranches jaspées. Couverture rigide. Très bon. L'Imprimerie d'Arthabaska, Inc. Imprimeur hardcover
20819Arthabaska L'Imprimerie d'Arthabaska
185090068Paris: GoupilVibert & Cie 1850. Fine. Goupil Vibert & Cie Paris 1850 34.5 x 46.5 cm Reliure de l'éditeur Rare first edition comprising a suite of 12 lithographs printed in colour on tinted grounds numbered 112.This series by the painter and lithographer Charles-Edouard de Beaumont 18211888 lithographed by Jaime addresses the theme of children compelled to work from a very early age exposed to street trades and itinerant entertainments.Publishers half brown cloth over beige paper-covered boards title stamped on the upper cover.Some small tears and rubbing to the cloth spine light dampstaining to the margins of the boards occasional foxing a small black mark to the upper cover.The suite may be read either romantically or socially; in both cases it conveys a deeply poignant impression all the more so as such subjects are ultimately seldom represented at a period which par excellence was that of child labour and early confrontation with poverty: 1. Match seller. 2. Shrimp fishers. 3. Street performers. 4. Monkey seller. 5. Performing dogs. 6. Street singers. 7. Chimney sweeps. 8. Shepherd. 9. Groom. 10. Cabin boy. 11. Broom sellers. 12. Puppets.Provenance: copy from the celebrated collection of Félicie Meunier dHostel with her bookplate mounted on the front endpapers; subsequently in the library of Paul Gavault 18661951 playwright and theatre director. GoupilVibert & Cie hardcover
185090068Goupil Vibert & Cie | Paris 1850 | 34.5 x 46.5 cm | Reliure de l'éditeur
06039Paris: Chez Aubert 1846. Forty Superb Lithographs by Charles-Édouard de Baeumont<br /> Depicting The Pretty Women of Paris<br /> <br /> BEAUMONT Charles-Édouard de. Les Jolies Femmes de Paris. The Pretty Women of Paris. Paris: Chez Aubert 1846. <br /> <br /> Folio 13 1/8 x 10 inches; 333 x 254 mm. Forty superb lithographs complete all mounted on stubs. <br /> <br /> A remarkably clean example of this extremely rare title. <br /> <br /> Bound by Pagnant ca. 1890 in three quarter red scored calf over red cloth boards ruled in gilt. Smooth spine decoratively tooled and lettered horizontally in gilt marbled endpapers top edge gilt. Some minor rubbing to board edges otherwise near fine.<br /> <br /> OCLC lists just three copies in libraries and institutions worldwide - none of them complete: Bibliotheque Geneve Switzerland 20 plates only; Bibliotheque Nationale de Paris France 32 plates only; Bibliothek der Universitat der Kunste Germany 20 plates only. <br /> <br /> Charles-Édouard de Beaumont 1821-1888 was one of the great caricaturists and lithographers that illustrated the beautiful pages of Charivari and other fashionable image journals. He produced all the illustrations for the picturesque Revue Le Diable Amoureux The Devil in Love and many of the illustrations for the 1844 edition of Victor Hugo's Notre-Dame de Paris. Often criticized for drawing too much inspiration from Paul Gavarni he published between 1228 and 1273 lithographs in the years 1842 to 1866. In 1879 he co-founded the Societe d'Aquarellistes Francais in 1879 where he exhibited several watercolors.<br /> <br /> De Beaumont's satirical images of gender relations are not always as progressive as this description of the series might suggest. In 1848 after Au Bal Masqué de Beaumont stopped depicting women in acceptable female roles and instead reconnected them to the role of prostitute. He would also reverse their gender roles to support an antifeminist backlash prompted by a conservative political climate. Out of this same school of thought de Beaumont authored a book titled The Sword and Womankind that attributes a range of historical calamities to the deeds of wayward women. For example depictions of women castrating men and enacting other violent acts spread from the belief that women were responsible for the failure of the 1848 revolution.<br /> <br /> Colas 257 Aubert 1846 edn. 40 plates; Hiler p. 73 Aubert 1846 edn. 40 plates; Von Lipperheide 3565 30 plates<br /> <br /> The Plates:<br /> <br /> 1. Quelle chance.dire que je n'aurai eu une petite voiture à mes ordres que pendant un mois de ma vie et ça tombe juste en fèvrier qui n'a que vingt huit jours!.<br /> What luck.to say that I will only have had a small car under my orders for one month of my life and that just happened in February which is only twenty-eight days old!.<br /> <br /> 2. Un monsieur qui cause sérieusement.<br /> A gentleman who talks seriously.<br /> <br /> 3. Etude sérieuse et au piano de la partition du Larifla fla fla.<br /> Serious study and at the piano of the score of Larifla fla fla.<br /> <br /> 4. Envoyée extraordinaire d'un Prince du nord remise d'une missive et de plusieurs fourrures prèsens diplomatiques.<br /> Envoy extraordinary from a Prince of the North delivery of a missive and several furs diplomatic presents.<br /> <br /> 5. Moi je n'aimerais que cette rivière en diamans. Diable.voila des gouts peu modestes.filons!.<br /> Me I would only like this diamond river. Devil. here are not very modest tastes. let's go!.<br /> <br /> 6. Comment.Céline qui lit un livre de morale!. Eh! mon dieu.il faut bien connaitre un peu de tout!.<br /> How. Céline reading a moral book!. Hey! my god. you have to know a bit of everything!.<br /> <br /> 7. Le monsieur lisant. "Mon cher monsieur Bienaimé pour solder un petit restant de compte avec ma blanchisseuse j'aurais besoin ce matin de conq cent francs si vous pouvez remettre cette bagatelle à Florine ma femme de chambre en un billet de la banque vous l'obligerez."<br /> The gentleman reading. "My dear Monsieur Beloved to settle a little remaining account with my laundress I would need five hundred francs this morning if you can give this trifle to Florine my chambermaid in a note of the bank you will oblige it."<br /> <br /> 8. Prenons garde la portiere nous écoute.je la soupçonne d'être un agent soudoyé par l'or de l'Angleterre!.<br /> Let's be careful the portress is listening to us.I suspect her of being an agent bribed by England's gold!.<br /> <br /> 9. Deux philosophes qui étudient le monde du haut d'un balcon de la rue Notre dame de Lorette.<br /> Two philosophers studying the world from a balcony on rue Notre Dame de Lorette.<br /> <br /> 10. Voyons mon petit Jules.je ne peux pas être plus mal meublée que Clarisse.rien qu'une pendule rocaille.et tout le reste assorti.<br /> Let's see my little Jules.I couldn't be worse furnished than Clarisse.nothing but a rockery clock.and everything else to match.<br /> <br /> 11. Madame est sortie.elle est allée au bain. Comment au bain.elle y est déja allé ce matin de dix heures à midi!.<br /> Madam went out.she went to the bath.How to the bath.she already went there this morning from ten o'clock to noon!.<br /> <br /> 12. On rend une petite visite à ce bon monsieur Thèodore.<br /> We pay a little visit to this good Mr. Theodore.<br /> <br /> 13. Il m'a acheté hier cette robe de cinq louis et demi. Il s'est conduit en parfait gentilhomme.<br /> He bought me this dress for five and a half louis yesterday. He behaved like a perfect gentleman.<br /> <br /> 14. On en est encore au respect!<br /> We are still respectful!<br /> <br /> 15. Madame fut'il laisser entrer ce M'sieu. Il ne t'a pas dit son nom. Non.mais il m'a l'air bien comme il faut.il fume du Camphre!.<br /> Madame was he to let this gentleman in. He didn't tell you his name. No. but he looks fine to me. he smokes Camphor!. .<br /> <br /> 16. Si ma femme me voyait.mais non il n'y a pas de danger.les rideaux de sa chambre sont soigneusement tirés.ah! ça mais au fait pourquoi diable ses rideaux sont-ils si soigneusement tirés!.<br /> If my wife saw me.no there is no danger.the curtains of her room are carefully drawn.ah! that but by the way why the hell are her curtains so carefully drawn!.<br /> <br /> 17. Mon petit mimi.ne faut zamais dire à un monsieur qui vient voir ta maman: tu m'embêtes.faut touzour lui répondre bien sentiment.comme si c'était papa!.<br /> My little cutie.never say to a gentleman who comes to see your mum: you bother me.always have to answer him with good feeling.as if it were daddy!.<br /> <br /> 18. Quel dommage que les cheveux ne restent pas toujours de la même couleur et que ça change avec l'âge!. C'est vrai.tu connais bien la propriétaire d'en face.celle qui se donne vingt neu fans depuis quinze ans.elle a perdu son mari il y à six mois et elle a eu tant de chagrin que dans une seule nuit tout ses cheveux sont devenus noirs!.<br /> What a pity that the hair doesn't always stay the same color and that it changes with age!. It's true.you know the owner opposite well.the one who has given herself twenty-nine fans for fifteen years.she lost her husband six months ago and she was so sad that in a single night all her hair turned black!.<br /> <br /> 19. Divertissement matrimonial - monsieur mène madame sur la butte Montmartre pour lui faire contempler le coucher du soleil.<br /> Matrimonial entertainment - Monsieur takes Madame to the Butte Montmartre to make her contemplate the sunset.<br /> <br /> 20. Parisienne tournant à la Varsovienne.<br /> Parisian turning Warsaw style.<br /> <br /> 21. On demande une réponse par le courrier.<br /> We ask for an answer by mail.<br /> <br /> 22. Costume national français du commencement de décembre à la fin de février.<br /> French national costume from the beginning of December to the end of February.<br /> <br /> 23. Quant à moi si j'aimais bien quelqu'un.oh! mais là bien!.je m'abstiendrais à des économies et je serais capable de ne pas dépenser avec lui plus de trois mille cinq cent francs.par mois!.<br /> As for me if I loved someone.oh! but that's fine!.I would abstain from saving money and I would be able not to spend more than three thousand five hundred francs with him.a month!.<br /> <br /> 24. Une étoile qui file.<br /> A spinning star.<br /> <br /> 25. Tenue champêtre des Parisiennes pour aller au bois.<br /> Country outfit for Parisiennes to go to the woods.<br /> <br /> 26. Dames sur le Turf.<br /> Checkers on the Turf.<br /> <br /> 27. Tiens je te le vends bien bon marché sit u veux.je me suis donnè beaucoup de mal pendant trois mois à lui apprendre à dire j'aime Frédéric et voilà que depuis quinze jours mon chérie s'appelle Théobald.c'est gènant.on ne devrait jamais apprendre aux perroquets qu'à dire qu'ils n'ont pas déjeuné!.<br /> Here I'll sell it to you very cheaply if you want.I went to great lengths for three months to teach her to say I love Frédéric and now for two weeks my darling has been called Théobald.it's embarrassing .parrots should only ever be taught to say that they have not eaten!.<br /> <br /> 28. Madame Diogène.<br /> Madame Diogenes.<br /> <br /> 29. Allons donc Marguerite allons donc!. J'fais tout ce que je peux.mais j'savais pas qu'en entrant chez une dame seule la première chose qu'y fallait apprendre c'était à vernir des bottes!.<br /> So let's go Marguerite come on!. I'm doing everything I can. but I didn't know that when I went to a lady alone the first thing you had to learn was how to varnish boots!.<br /> <br /> 30. Dire pourtant que me voila en Madeleine.je ne suis peut-être pas bien ressemblante de figure. Ça ne fait rien.beaucoup de personnes vous reconnaîtront!.<br /> To say however that here I am in Madeleine.I am perhaps not a good resemblance in face. It doesn't matter.a lot of people will recognize you!.<br /> <br /> 31. Pélerinage au moulin de la galette butte Montmartre.<br /> Pilgrimage to the Moulin de la Galette butte Montmartre.<br /> <br /> 32. Elle m'écrivait en m'attendant.cette bonne petite.tiens!.elle commence sa lattre par cher Casimir.quand elle sait que je m'appelle Philémon!<br /> She wrote to me expecting me.that good little one.hold on!.she begins her letter with dear Casimir.when she knows that my name is Philemon!<br /> <br /> 33. Je l'aime un peu.beaucoup.passionément.est-il permis passionément!.un homme de quarante neu fans et qui a le nez d'Odry.ces marguerite c'est bête comme choux!.<br /> I love him a little.a lot.passionately.is it allowed passionately!.a man of forty nine fans and who has Odry's nose.these daisies are stupid as cabbage!.<br /> <br /> 34. Conversation conjugale à huis clos.<br /> Marriage conversation behind closed doors.<br /> <br /> 35. A quoi sert un Kings - Charles de cinquante écus - à abimer une robe de deux cents francs.<br /> Of what use is a Kings-Charles of fifty crowns - to damage a dress of two hundred francs.<br /> <br /> 36. Oh!.la belle dame don't mon maître a fait connaissance hier à l'Opéra qui dine avec du fromage d'Italie!. Après ça c'est peut-être une Napolitaine!<br /> Oh!.the beautiful lady whom my master met yesterday at the Opera who dines with Italian cheese!. After that she may be a Neapolitan!<br /> <br /> 37. Le prix courant d'un bouquet.<br /> The current price of a bouquet.<br /> <br /> 38. C'est une dame.vite mon châle!.<br /> It's a lady.quick my shawl!.<br /> <br /> 39. Il a l'honneur de saluer Mme. De Ste. Amaranthe et sa nièce.<br /> He has the honor to greet Mrs. De Ste. Amaranthe and her niece.<br /> <br /> 40. Archicivilisées!<br /> Archivilized! Paris: Chez Aubert, 1846 unknown
SLIVCN-9782882410214Bernard Campiche (10/1990)
84486Yvonand, Campiche 1990, 210x120mm, 309pages, broché. Couverture à rabats. Très bel exemplaire.
