12 261 résultats
- Chez Lachaussée, Paris [circa 1790], 30,5x48,5cm, une feuille. - Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue intérieure de la Bourse royale à Londres. Les vues d'optique, également appelées vues, perspectives ou encore "mondo nuovo", sont des gravures très en vogue entre la fin du XVIIIe et le début du XIXe siècle. Elles étaient destinées à être observées à travers un jeu de plusieurs miroirs ou par le moyen d'un Zygrascope, instrument constitué d'un miroir et d'une lentille. Les vues d'optique peuvent être considérées comme les précurseurs des images en trois dimensions et des stéréoscopes qui connurent un vif succès dès le XIXe siècle. Les vues d'optique semblent apparaître dans les années 1740 et sont des divertissements de salon. Le procédé s'est développé d'abord à Paris, puis Londres et enfin en Allemagne et s'attachait à représenter - de manière idéalisée - les plus célèbres panoramas et paysages d'Orient et d'Occident. Belle épreuve aux couleurs très fraîches. [ENGLISH DESCRIPTION ON DEMAND]
- Chez Daumont, Basset et Lachaussée, Paris [circa 1790], 30,5x48,5cm, une feuille. - Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue intérieure de la cathédrale de Dorth. Les vues d'optique, également appelées vues, perspectives ou encore "mondo nuovo", sont des gravures très en vogue entre la fin du XVIIIe et le début du XIXe siècle. Elles étaient destinées à être observées à travers un jeu de plusieurs miroirs ou par le moyen d'un Zygrascope, instrument constitué d'un miroir et d'une lentille. Les vues d'optique peuvent être considérées comme les précurseurs des images en trois dimensions et des stéréoscopes qui connurent un vif succès dès le XIXe siècle. Les vues d'optique semblent apparaître dans les années 1740 et sont des divertissements de salon. Le procédé s'est développé d'abord à Paris, puis Londres et enfin en Allemagne et s'attachait à représenter - de manière idéalisée - les plus célèbres panoramas et paysages d'Orient et d'Occident. Belle épreuve aux couleurs très fraîches. [ENGLISH DESCRIPTION ON DEMAND]
- Chez Basset, Paris [circa 1790], 30,5x48,5cm, une feuille. - Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue du pont de la Trinité de Florence. Les vues d'optique, également appelées vues, perspectives ou encore "mondo nuovo", sont des gravures très en vogue entre la fin du XVIIIe et le début du XIXe siècle. Elles étaient destinées à être observées à travers un jeu de plusieurs miroirs ou par le moyen d'un Zygrascope, instrument constitué d'un miroir et d'une lentille. Les vues d'optique peuvent être considérées comme les précurseurs des images en trois dimensions et des stéréoscopes qui connurent un vif succès dès le XIXe siècle. Les vues d'optique semblent apparaître dans les années 1740 et sont des divertissements de salon. Le procédé s'est développé d'abord à Paris, puis Londres et enfin en Allemagne et s'attachait à représenter - de manière idéalisée - les plus célèbres panoramas et paysages d'Orient et d'Occident. Belle épreuve aux couleurs très fraîches. [ENGLISH DESCRIPTION ON DEMAND]
- Lieu commun, s.l. 1989, 13,5x22cm, broché. - Edition originale pour laquelle il n'a pas été tiré de grands papiers de cette autobiographie écrite en collaboration avec Danielle Rouard. Iconographie, agréable exemplaire. Rare envoi autographe signé de Manu Dibango à Marie Muller. [ENGLISH DESCRIPTION ON DEMAND]
- Furne, Paris 1852, 17,5x27cm, relié. - Première édition sous ce titre. Reliure en demi basane aubergine, dos lisse légèrement éclairci orné d'arabesques dorées, quelques traces de frottements sur le dos, les coiffes et les mors, plats de cartonnage aubergine ornés de motifs floraux estampés à froid, coins inférieurs légèrement émoussés, petites traces de frottements sur les coupes, gardes et contreplats de papier à la cuve, reliure de l'époque. Ouvrage illustré d'un frontispice ainsi que de 25 planches gravées sur acier. Quelques rousseurs. [ENGLISH DESCRIPTION ON DEMAND]
- Théodore Lefèvre, Paris 1878, 15,5x24,5cm, relié. - Edition originale. Reliure en demi chagrin noir, dos légèrement passé à quatre fins nerfs orné de quadruples filets dorés agrémenté d'un fleuron doré enrichi d'une pièce de chagrin rouge mosaïquée, légères éraflures sans gravité sur les mors, encadrement de filets et d'entrelacs à froid sur les plats, tranches dorées, reliure signée de Charles Magnier. Ouvrage illustré de 73 gravures in et hors-texte. Quelques petites rousseurs. [ENGLISH DESCRIPTION ON DEMAND]
- Hachette, Paris 1870, 11,5x18cm, relié. - Edition originale de la traduction française. Reliure en demi chagrin noir, dos à quatre nerfs orné de motifs typographique doré, coins émoussés, reliure de l'époque. Pales mouillures et salissures affectant certains feuillets. Rare. [ENGLISH DESCRIPTION ON DEMAND]
- Didier, Paris 1834, 8,5x14cm, relié. - Nouvelle édition. Reliure en demi basane noisette, dos lisse de triples filets dorés et comportant des traces de frottements, plats de papier marbré, gardes et contreplats de papier à la cuve, reliure de l'époque. Notre exemplaire est bien complet des 5 panoramas dépliants hots-texte mais malheureusement pas de sa carte. Petites rousseurs éparses. Rare. [ENGLISH DESCRIPTION ON DEMAND]
- J.J. Dubochet & Le Chevalier & Cie, Paris 1846, 18,5x28cm, relié. - Deuxième édition. Reliure en demi chagrin noir, dos à quatre fins nerfs orné de doubles caissons dorés, encadrement d'un filet doré sur les plats de cartonnage noir, quelques accrocs sur les coupes, gardes et contreplats de soie moirée crème. Ouvrage illustré d'après les dessins de l'auteur ainsi que de 15 dessins hors-texte par Calame. Quelques rousseurs sans gravité affectant principalement le début et la fin du volume. [ENGLISH DESCRIPTION ON DEMAND]
4to [25.5 x 21 cm]; xvi, 301, [i], [ii, publisher's ads] pp, 167 finely engraved illus, mostly full-page (complete). original pictorial green cloth with elaborate gilt decorations and lettering, a. e. g., spine ends worn and frayed, lightly foxed confined mainly to margins, internal hinges cracked but holding, very good in attractive original covers, gilt bright. A pict Views and landscapes by one of the most popular artists of the time.
4 volumi (XXXVI, 219; 287; 257; 255 p.), 18 tavole f.t. acquarellate d'epoca; 18 cm. Brossura editoriale con titoli e decori a stampa. Qualche abrasione al dorso del primo volume e in copertina, ma buona copia. L'opera fa parte della "Raccolta de' viaggi più interessanti eseguiti nelle varie parti del mondo, tanto per terra quanto per mare, dopo quelli del celebre Cook, e non pubblicati finora in lingua italiana", tomi 35, 36, 37, 38
608pp.with ills., 25cm., cloth, VG, T71582
[52] pp., 19cm., text in Latin, modern blind wrappers, rare dissertation on Charlemagne, G95508
Antonio Zatta, Venezia, 1781. Dall’ “Atlante Polacco” del Rizzi Zanoni. Incisione in rame, confini in colore d’epoca, cm 32,9 x 42,3 (alla lastra), disegnata da G. Zuliani e incisa da G. Pitteri, piccola vignetta nel titolo. Decorativa e in buono stato.
Stories: The Great Porcupine Fire; Asking for Trouble; Singing Our Way Through Europe; Feats of Indian Fakirs; The Wyoming Outlaw; Worms that have Turned; Our Township; The Road-Makers; A Californian Lion Farm; Vanished Ivory; Pieces of Eight; Bird of Bad Luck; Two Collisions. Average wear. Book
246 pages. Provides a selection of important material relative to the frame harp, its development in Europe during a period of several hundred years, its importation to America, and its subsequent flourishing in both parts of the world. "A full list of recordings of solo and ensemble music, and a carefully chosen list of compositions, graded for school use, are included in the appendices. There is alos a comprehensive bibliography and an index. Will be of wide interest to the professional musician, the music educator and the composer. Students of the harp will find it a vital source of information." - from dust jacket. Black and white plates. Usual library markings. Above-average wear. Worthy reference copy. Book
No dust jacket. Hardcover. Two - volume set. This book was not published in 1900; it does not have a publication date, but was probably published around 1840. Leather - bound spines and leading corners. Boards, spines and leading corners are considerably worn and rubbed. Spine head of Vol. 1and left edge of Vol. 2 are chipped. Leading corners are bumped and have some leather loss. Page block is very taned and has one or two small marks. Marbled pastedowns and endpapers. Pages are rather tanned and grubby, with some age - spotting throughout. Hinges of both volumes are cracked and binding is a little loose throughout both volumes. Text and illustrations remain clear. AF Used
142 Seiten. Zeitgenössische Broschur *Sehr seltene Schrift. Beschreibt die mündlichen Verhandlungen in Straßburg nach der Französischen Revolution zur Einführung der bürgerlichen Regierung in Straßburg. Bücher fr
in francese bella legatura in marocchino rosso con cornice floreale e fregi ai piatti e al dorso, sguardie in carta a mano, fioriture alle prime ed ultime pagine e alla tavola, piccola mancanza alla cuffia superiore
1st edition. Original boards. 8vo. 247 pages. 21 cm. In Yiddish. Title translates to Songs of my Field: Memories of my Exhausted life. Title on title page verso: Espigas de mi campo. Dujowich (1873-1951). SUBJECTS: Jews -- Russia -- Biography. OCLC lists 16 copies worldwide (OCLC: 12385305). Wear to boards. Pages browning. Otherwise Good Condition. (YID-40-96-L-'x)
A Cologne - Aux Dépens de la Compagnie - 1752 - T. VI, IX & X - In-8 - Reliure plein veau de l'époque - Dos à 5 nerfs à caissons dorés - Piéces de titre et de tomaison cerise - Toutes tranches mouchetées - Signet - (2) Tables & 683 + (1) 6 pROPRE Chaque tome peut-être vendu à l'unité au prix de 65 €
Spine faded. Wear to extremites. First few pages and last few pages detached but present. Binding not tight ; Profusely illustrated with color and B&W photographs. Fold out map inset. Bound in business advertisements featured throughout; 8vo; 943 pages
Boxed samples supplied by the Cotton Board Home Trade Department, containing cotton samples in seven formats at different stages of production, thirteen unique fabric swatches made from said cotton, each of the samples and swatches accompanied by a text description on a blue card. Together with the original photographic pictorial insert printed recto and verso to illustrate industrial cotton processing and provide statistics to entice commercial buyers. Original blue cardboard box measuring approximately 32 x 16 x 4 cm, with six box compartments within it serving to neatly separate and display the contents, and paper label to front. Wear and pierce marks to box, otherwise in excellent condition, its contents well preserved, an intact and complete item. Samples show cotton at various stages, including: An American Cotton Boll, Cleaned Cotton (Scutcher Lap), Carding (Card Silver), Slubbing, Roving, a Mule Cop of weft yarn ready for use in a loom shuttle, a Ring Tube of weft yarn suitable for warp in the weaving process, 13 finished woven fabric swatches, most of which are dyed. Statistics printed on the inserted leaf, reveal that in the year 1960, the United Kingdom exported cotton goods amounting to a value of £63,000,000 while local consumers purchased approximately 1,800 million square yards of cotton textiles. Further listing all the countries from where raw cotton and the like was imported, the United Kingdom purchased 822 million lbs. From this, the finished product of cotton textiles exported to Africa, Australia and New Zealand, America, and Western Europe, amounted to 327 million square yards exported. An astounding 222,720 workers were employed in the United Kingdom Cotton Industry, mostly in Lancashire, but also including the neighbouring districts of Yorkshire, Derbyshire and Cheshire. The Cotton Board was an organisation to oversee the organisation, research, marketing and promoting the cotton textile industry mainly based in Lancashire and Glasgow. A voluntary Cotton Board was set up in 1940 to "promote the welfare of the industry by internal reorganisation, by the development of export trade, scientific research, propaganda and other means." The board was given statutory status from 1948 to 1972 under the Industrial Organisation and Development Act 1947, and was known in its last years as the Textile Council. The Board had equal representation from industry and trades unions, with four members each, plus three independent members. It was given the power to levy up to £250,000 a year from the industry. Its headquarters was in Manchester, together with the "Colour, Design and Style Centre", which became the public face of the board. Between 1956 and 1962, the Cotton Board organised promotions to try and increase sales of Lancashire cotton within the UK, using generic marks, particularly the slogan "Buy British Cottons" - as seen on the leaf in the present display box. Its initiatives included new methods for utilising labour, recruitment and training, the encouragement of collaboration within the cotton industry, and design innovations. British fashion designs and fabrics were showcased at national and international exhibitions, ranging from an exhibition on the history of the cotton mills and a display of 1960s children's clothing to soft furnishing promotions at large stores and national fashion shows. Initiated by the Cotton Industry Act 1959, the Board engaged in a major attempt to reorganise the cotton industry, which entailed "the scrapping of machinery and compensation for redundant workers in the industry, which was carried through with great success and great expedition". Regrettably, a combination of reduced consumer demand, poor marketing and cheaper Commonwealth imports during the period of reorganisation created, a reduction of confidence in the industry, according to the Board's chairman Lord Rochdale. This both reduced the amount asked for by industry and invested by the government and resulted in machinery being installed in mills that either closed or became idle. Furthermore, because of the need to replace machinery on a ten-year cycle, idleness was likely to mean that investments would not be recouped. The Board funded research into cotton fabrics via an industry-wide levy. This was undertaken by the British Cotton Industry Research Association (BCRIA), better known as the Shirley Institute. By the 1960s, research also involved man-made fabrics, whose manufacturers began to pay a research levy to the Cotton Board from 1961. Meanwhile, from 1946, the British Rayon Research Association (BRRA) was formed by the British Rayon Federation and others, to investigate the chemical and physical properties of rayon and rayon fabrics, using a wide range of laboratory and theoretical methods. It became clear that a merger between the BCIRA and BRRA was needed, and in 1961 the two joined together as "The Cotton, Silk, and Man-Made Fibres Research Association in 1961", still popularly referred to as the Shirley Institute. In 1967, the Cotton Board was renamed the Textile Council. Between 1967 and 1969, the Textile Council conducted an enquiry into the productivity of the industry, and produced a major report. The report ultimately recommended a move away from cotton import quotas to imposition of tariffs on cotton goods imported from the British Commonwealth and elsewhere, to protect British industries. The recommendation was accepted by Wilson's Labour government and its Conservative successor. The Textile Council was dissolved in 1971-2, at its own request, as it was felt the work would be better handled by a new voluntary British Textile Council.
Ex-library with minimal markings. Hinges started; With 38 Maps and 49 Plans ; 16mo; 607 pages
Boards with light rubbing to extremities. Front hinge started. ; Profusely illustrated. ; Lithograph; 8vo; xiii,320 pages