4 500 résultats
1966RO60093382Losada. 1966. In-12. Broché. Bon état, Couv. légèrement passée, Dos satisfaisant, Intérieur acceptable. 275 pages. Quelques annotations au crayon dans le texte.. . . . Classification Dewey : 460-Langues espagnole et portugaise
1969RO60093072Losada. 1969. In-12. Broché. Etat d'usage, Couv. défraîchie, Dos satisfaisant, Intérieur frais. 274 pages.. . . . Classification Dewey : 460-Langues espagnole et portugaise
1966RO60096440Losada. 1966. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur acceptable. 275 pages. Tampon de librairie en page de garde.. . . . Classification Dewey : 460-Langues espagnole et portugaise
199929163656831999, editorial Optima, in-8 cartonné, jaquette, Antología poética, ilustraciones de Rafael Alberti, ouvrage en espagnol | Etat : très bon état (Ref.: ref88955)
1998R100081554Editions du temps. 1998. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 383 pages - livre en espagnol.. . . . Classification Dewey : 460-Langues espagnole et portugaise
195525351955. Paris éditions J.A.R. 1955 - Broché 14 cm x 19 cm 246 pages - Ouvrage présenté par Raymond Queneau (de l'Académie Goncourt) Hervé Bazin Louis Calaferte René Fallet Yves Gibeau Maurice Raphaël Jean-Pierre Rosnay - Non coupé - Bon état
195559235Paris Editions J.A.R. 1955 1 vol. broché in-8, broché, 246 pp. Edition originale de la préface de Queneau, suivie d'un choix de textes par Hervé Bazin, Louis Calaferte, René Fallet, Yves Gibeau, Maurice Raphaël, Jean-Pierre Rosna.. Un des 74 exemplaires numérotés sur alfa Djebel.
195559235Paris Editions J.A.R. 1955 1 vol. broché in-8, broché, 246 pp. Edition originale de la préface de Queneau, suivie d'un choix de textes par Hervé Bazin, Louis Calaferte, René Fallet, Yves Gibeau, Maurice Raphaël, Jean-Pierre Rosna.. Un des 74 exemplaires numérotés sur alfa Djebel.
1993RO60091751ALIANZA/TAURUS. 1993. In-12. Broché. Etat d'usage, Couv. légèrement passée, Dos satisfaisant, Intérieur frais. 252 pages. Premier plat illustré en couleurs. Texte en espagnol.. . . . Classification Dewey : 0-GENERALITES
1988RO60091752ALIANZA/TAURUS. 1988. In-12. Broché. Etat d'usage, Couv. légèrement passée, Dos plié, Intérieur frais. 252 pages. Premier plat illustré en couleurs. Texte en espagnol.. . . . Classification Dewey : 800-LITTERATURE (BELLES-LETTRES)
1991100125355Lipari ediciones 1991 384 pages in8. 1991. Broché. 384 pages.
1927mon0000159932Hutchinson & Co. 1927-01-01. Hardcover. Good. in x in x in. NOT ex-library. Well read copy with some spine wear but still very useable Unknown Edition. Hutchinson & Co. hardcover
1998Q-0471197130Wiley 1998-04-03. Paperback. New. In shrink wrap. Looks like an interesting title! Wiley paperback
1998x-0471197130John Wiley & Sons Inc 1998. Paperback. New. 1st edition. 309 pages. 9.75x7.75x0.75 inches. John Wiley & Sons Inc paperback
1965D5S241217022Bonanza Books 1965. hardcover. Very Good. 0x0x0. A very nice copy. Text in mint/unmarked condition. DJ shows some wear and is covered with a protective mylar cover. Binding is tight. Your Satisfaction Guaranteed. We ship daily. Expedited shipping available. Bonanza Books hardcover
19471000726.41Editorial Pleamar Buenos Aires 1947. 2nd edition. Hardcover. Good. 8vo. Hardcover. Vg condition in good dj. Boards faintly edge-browned under dj contents clean binding firm; dj moderately soiled & edge-worn. 269 pp. Editorial Pleamar, Buenos Aires hardcover
195830493BUENOS AIRES: Editorial Losada 1958. Tercera edición.- 8º Mayor.- 274 páginas.- 3 hojas.- Rústica con solapas. . Editorial Losada unknown
195217.2252Santander Distribuciones Mares Valencia: Bedia 1952. 1ª ed. . Rústica. 11.2x19. Bedia paperback
1991100125355Lipari ediciones 1991. Bon Etat proche du très bon état intérieur propre dos légèrement creusé couverture un peu défraîchie. in8. 1991. Broché. 384 pages. Lipari ediciones unknown
1993green165418Philip Wilson Pub Ltd. Very Good. 0302006230. 1993 bright clean copy with dustjacket no markings Professional booksellers since 1981 . 1993. Hardcover. Philip Wilson Pub Ltd hardcover
1993176219London/New York: Zwemmer/English Heritage/Rizzoli 1993. Hardcover. VG. Black cloth boards with gilt lettering on spine color illustrated dust jacket 160 pp. with approximately 50 color and bw images. Catalogue from the exhibition of 61 works. Many were paintings and drawings but some were books letters etc. not pictured. With an introduction covering several topics including Sir Charles Hanbury Williams The Raphael copy for Northumberland House Paintings for British Patrons British Commissions and Contacts in Rome and much more. WIth a chronology of Meng's life and the catalogue of works annotated. " During his lifetime Anton Raphael Mengs 1728-79 was considered one of the most important painters in Europe but his reputation declined with the rise of Romanticism and has only begun to recover in recent years. Born in Aussig and brought up in Dresden he became Principal Painter to the royal courts of Saxony and Madrid but his main base was to be Rome. He never visited Great Britain refusing out of loyalty to his King the invitations he received to come and work here. Through the diplomat Sir Charles Hanbury Williams in Dresden Mengs was introduced to key members of the British circle in Florence such as the ambassador Sir Horace Mann who provided a crucial link between British travellers and the artistic circles of Rome. This was of course the heyday of the British Grand Tour and in many ways it was unnecessary for Mengs to go to Britain - Britain in the wealthy form of its youthful aristocracy came to him. As the Seven Years' War cut off Mengs's official source of income from the Elector of Saxony he was probably grateful to be able to turn to the lucrative field of Grand Tour portraiture. Mengs quickly became one of the central figures of the Neoclassical 'set' that gathered round the great German antiquarian Winckelmann. His studio was open to all and this period saw figures like Richard Wilson a friend whose portrait Mengs painted Robert Adam Allan Ramsay Robert Wood James 'Athenian' Stuart Piranesi and of course Mengs's great rival in the field of Grand Tour portraits Pompeo Batoni all at work and sharing ideas and tastes. Thomas Jenkins artist and the most famous dealer of the time was another friend. In this intellectual climate Mengs produced works for like-minded British patrons which were to have a strong influence on art in this country like the enormous copy after Raphael's School of Athens for Northumberland House now in the Victoria and Albert Museum and Augustus and Cleopatra finished in 1761 for Henry Hoare of Stourhead - one of the crucial foundation works of Neo-classicism. Encouraged by Winckelmann Mengs committed his theory of art to paper and through works like his Gedanken uber die Schonheit which was to be translated into every major European language including English in 1792 his fame and influence spread. During the long eclipse of Mengs's reputation many of his paintings lay hidden in British collections to survive and finally be rediscovered; in some cases these works had been considered lost. This catalogue to accompany the exhibition 'Anton Raphael Mengs and his British Patrons' at the Iveagh Bequest Kenwood illustrates such works and it is hoped that as a result of it more 'lost' works will be unearthed." -website. Zwemmer/English Heritage/Rizzoli hardcover
1993176219London/New York: Zwemmer/English Heritage/Rizzoli 1993. Hardcover. VG- light foxing to upper block. Black cloth boards with gilt lettering on spine color illustrated dust jacket 160 pp. with approximately 50 color and bw images. Catalogue from the exhibition of 61 works. Many were paintings and drawings but some were books letters etc. not pictured. With an introduction covering several topics including Sir Charles Hanbury Williams The Raphael copy for Northumberland House Paintings for British Patrons British Commissions and Contacts in Rome and much more. WIth a chronology of Meng's life and the catalogue of works annotated. " During his lifetime Anton Raphael Mengs 1728-79 was considered one of the most important painters in Europe but his reputation declined with the rise of Romanticism and has only begun to recover in recent years. Born in Aussig and brought up in Dresden he became Principal Painter to the royal courts of Saxony and Madrid but his main base was to be Rome. He never visited Great Britain refusing out of loyalty to his King the invitations he received to come and work here. Through the diplomat Sir Charles Hanbury Williams in Dresden Mengs was introduced to key members of the British circle in Florence such as the ambassador Sir Horace Mann who provided a crucial link between British travellers and the artistic circles of Rome. This was of course the heyday of the British Grand Tour and in many ways it was unnecessary for Mengs to go to Britain - Britain in the wealthy form of its youthful aristocracy came to him. As the Seven Years' War cut off Mengs's official source of income from the Elector of Saxony he was probably grateful to be able to turn to the lucrative field of Grand Tour portraiture. Mengs quickly became one of the central figures of the Neoclassical 'set' that gathered round the great German antiquarian Winckelmann. His studio was open to all and this period saw figures like Richard Wilson a friend whose portrait Mengs painted Robert Adam Allan Ramsay Robert Wood James 'Athenian' Stuart Piranesi and of course Mengs's great rival in the field of Grand Tour portraits Pompeo Batoni all at work and sharing ideas and tastes. Thomas Jenkins artist and the most famous dealer of the time was another friend. In this intellectual climate Mengs produced works for like-minded British patrons which were to have a strong influence on art in this country like the enormous copy after Raphael's School of Athens for Northumberland House now in the Victoria and Albert Museum and Augustus and Cleopatra finished in 1761 for Henry Hoare of Stourhead - one of the crucial foundation works of Neo-classicism. Encouraged by Winckelmann Mengs committed his theory of art to paper and through works like his Gedanken uber die Schonheit which was to be translated into every major European language including English in 1792 his fame and influence spread. During the long eclipse of Mengs's reputation many of his paintings lay hidden in British collections to survive and finally be rediscovered; in some cases these works had been considered lost. This catalogue to accompany the exhibition 'Anton Raphael Mengs and his British Patrons' at the Iveagh Bequest Kenwood illustrates such works and it is hoped that as a result of it more 'lost' works will be unearthed." -website. Zwemmer/English Heritage/Rizzoli hardcover books
199253609Ed. Ariel 1992. paperback. Bueno. Barcelona. 1990. Ed. Ariel. Col. Ariel Economia. 271 pp. 24x18. Rústica. Primeera edición. Ed. Ariel paperback
1909LIQ-125P. Ferroud 1909. In-4° broché, couverture ornée d'une vignette en couleurs, chemise et étui (étui refait).
1909347853Paris: A. Ferroud 1909. 1st Limited Edition. Hardcover. Near fine copy finely bound in gilt-blocked half leather. Raised spine bands. Top edge gilt. Slightest suggestion only of dust-dulling to the spine bands and panel edges. Remains particularly well-preserved overall; tight bright clean and strong. Limited edition numbered to 485 of which this is number 403. Physical description: 3 preliminary leaves III-V 281 3 pages color illustrations color plates 27 cm. Notes: Text is in French. Subjects: Fiction. French fiction. 19th century fiction. Aphrodite. Paris: A. Ferroud hardcover
