‎‎
‎La Red‎

‎First aid manual - the authorised manual of St. John Ambulance St. Andrew's Ambulance Association The British Red Cross Society --- 3rd edition‎

‎British red cross society 1972 in8. 1972. Broché.‎

‎couverture jaunie rousseurs sur tranche intérieur propre‎

‎La partie de Bridge contrat 125 coups de Bridge Contrat annoncés et joués selon la technique moderne classés dans un ordre progressif expliqués et commentés avec de nombreux exemples tirés du red book‎

‎Société parisienne d'édition 1935 in12. 1935. Broché. 2 volume(s). La partie de Bridge contrat 125 coups de Bridge Contrat annoncés et joués selon la technique moderne classés dans un ordre progressif expliqués et commentés avec de nombreux exemples tirés du red book de Culberton --- en supplément: Le Bridge de George Versini éditions PUF‎

‎Etat correct couverture défraîchie intérieur jauni propre‎

‎La partie de bridge contrat - 125 coups de bridge contrat annoncés et joués selon la technique moderne classés dans un ordre progressif expliqués et commentés avec de nombreux exemples tirés du red bo‎

‎Société parisienne d'édition 1935 in12. 1935. Broché. La partie de bridge contrat. 125 coups annonces et joues selon la technique moderne avec de nombreux exemples tires du "red book" du culberton‎

‎couverture défraîchie intérieur jauni propre rousseurs dans les plats intérieurs‎

‎The Saga of the Red Dream-11 Volumes. Red Sonia. ‎

‎The Saga of the Red Dream-11 Volumes. Red Sonia. In Russian (ask us if in doubt)/Saga o Ryzhey Sone-11 tomov. Ryzhaya Sonya. 2. Red Sonia and the Demon of Dreams. 3. Red Sonia and the Lord of the Fallen. 4. Red Sonia and the Blind God. 5. Red Sonia and the Wind of the Abyss. 6. Red Sonia and the Revenge of the Wolf. 7. Red Sonia and the Ring of Destiny. 8. Red Sonia and the Blood of the Witch. 9. Red Sonia and the Enemies of Nemesis. 10. Red Sleeping and the Shower Fishers. 11. Red Sleeping and the Sword of the North. SKUalb61b33dc5dfc4d1d3.‎

‎Geometric Figures & Color. Sol LeWitt. Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue‎

‎LeWitt, Sol: Geometric Figures & Color. Sol LeWitt. Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue. New York: Harry N. Abrams, 1979. Signed by the artist on the title page. 48 pages of illustrations. Paperback. 21 x 21cms. Lewitt conceptually explores: 'Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue.' The book is divided into three sections, each of which differ by background color. Barbara M. Reise wrote that 'LeWitt's colours, like his lines and squares, are like 'facts': they are inert, pre-established, accepted and un-emotional man-made constructs which can 'come to life' within a present context but do not necessarily do so. Red, yellow, blue, and black (and the white of wall or paper) are standard 'absolute primaries basic to all pigment colour - that is according to the colour system accepted by an art academic from early 19th-century theorists like Chevreul. Unlike the Newtonian rainbow-spectrum based on light-waves, this theoretical structure is more conceptually mathematical and tautological than referential to some exterior and inhuman Nature. LeWitt's use of these colours is as flatly complete, physical, and self-reflective as the theory itself. Unlike Seurat, whose use of the same colour theories was subordinated and interrelated to other interests in proportion theories and (seen) scene subject-matter, LeWitt uses colour as both the subject and the object of his art' (in: 'Sol Lewitt Critical Texts,' ed. Adachiara Zevi, Rome, 1994, p. 188).‎

‎Lewitt conceptually explores: 'Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue.' The book is divided into three sections, each of which differ by background color. Barbara M. Reise wrote that 'LeWitt's colours, like his lines and squares, are like 'facts': they are inert, pre-established, accepted and un-emotional man-made constructs which can 'come to life' within a present context but do not necessarily do so. Red, yellow, blue, and black (and the white of wall or paper) are standard 'absolute primaries basic to all pigment colour that is according to the colour system accepted by an art academic from early 19th-century theorists like Chevreul. Unlike the Newtonian rainbow-spectrum based on light-waves, this theoretical structure is more conceptually mathematical and tautological than referential to some exterior and inhuman Nature.. LeWitt's use of these colours is as flatly complete, physical, and self-reflective as the theory itself. Unlike Seurat, whose use of the same colour theories was subordinated and interrelated to other interests in proportion theories and (seen) scene subject-matter, LeWitt uses colour as both the subject and the object of his art' (in: 'Sol Lewitt Critical Texts,' ed. Adachiara Zevi, Rome, 1994, p. 188). Text in English‎