‎NABOKOV (Vladimir).‎
‎The Eye.‎

‎The Eye of the Needle. Satires, sorties, sundries‎

‎Contact Press Softcover Montreal / Toronto / Corbyville / Winnipeg 1957 ‎

‎Fine Octavo. 71 pages. Poetry. Nice copy.‎

‎Roberto Polo the eye. art collecting‎

‎, Frances Lincoln Publishers, London, 2011 Hardback with dusjacket in full color, 688 pages, Format: 325mm x 245mm, Over 400 colour photographs, very fine printed ! ISBN 9780711232525.‎

‎This book explores the visual evolution of the legendary connoisseur and philanthropist Roberto Polo through a selection of over three hundred masterpieces and magnificent gemstones from the extraordinary collections which he has formed. At an early age, Roberto Polo revealed a powerful talent as a visual artist, exhibiting his work in major art museums and galleries. Thanks to his profound knowledge of art history and theory, he also revealed an astonishing talent for identifying exceptional art and gemstones from many periods and origins. Roberto Polo was educated at the Corcoran School of Art, where he was appointed professor at the precocious age of sixteen, and at Columbia University. At the age of twenty-four, he conceived and organized the now landmark exhibition Fashion as Fantasy, featuring works especially created by fifty-four exhibitors, including David Hockney, Robert Motherwell and Andy Warhol. Roberto Polo was instrumental in founding Citibank?s Fine Art Investment Services, the first department of its kind in the banking industry. In 1981, he left Citibank and became an independent art and gemstone investment advisor. During this period, he formed collections of French eighteenth, nineteenth and twentieth-century fine and decorative arts, as well as of gemstones, described by Le Journal des Arts as ?anthological?. In 1988, the French Republic bestowed on him the medal of Commandeur de l?ordre des Arts et de Lettres for his contributions to French art and culture.In the same year, he became the victim of a Kafkaesque judicial affair from which he rose in 1995, according to The New York Times , as ?the wonderful phoenix of the art market?, now championing Historical Design and Modernism independently and through Galerie Historismus. Described by Le Figaro as ?The Eye? and by Architectural Digest as ?The Trendsetter of the Art Market?, Roberto Polo continues to follow his edict that one should only acquire art which was revolutionary in its time.Exquisitely illustrated with over four hundred colour photographs, and with texts by leading art and jewellery historians, this book is a fascinating insight into the man described by Art & Auction , as ?one of the ten people who have made a difference in the art market? and an illuminating account of his forty years of collecting activity.‎

‎Speaking to the Eye Sight and Insight through Text and Image (1150-1650),‎

‎Turnhout, Brepols, 2013 Hardback, approx. X+298 p., 37 b/w ill. + 8 colour ill., 156 x 234 mm. ISBN 9782503534206.‎

‎This volume takes as its focus the paradoxical double-bind of textuality and visuality in the culture of the high and late Middle Ages and early modernity. In a series of case studies contributors explore the historical and theoretical implications of the idea that texts and images alike ?speak to the eye?. Some scholars have proclaimed the coming of a ?visual turn? to explain the boom in conferences, books, and even specialized journals that take as their topic the theoretical or historical study of visual culture. The notion of visual culture may seem self-evident, not merely from our own twenty-first-century perspective but also when applied to earlier periods of western European history. However, the nature and status of the visual media, as well as the ways in which these were received, experienced, and appropriated, underwent several major changes between the twelfth and the seventeenth centuries. Contemporary sources describe and define the experience of reading texts and images as involving a mixture of visual and aural impulses that address both the inner eye and the outer senses. This volume sets out explicitly to investigate the specific, sensuous nature of this experience. It also addresses the question of whether, and if so to what extent and in which ways, this ?reading experience? was engendered. Languages : English.‎

‎Recueil comprenant : "Experiments on Colour, as Perceived by the Eye" [Et] "On the Theory of Compound Colours, and the Relations of the Colours of the Spectrum"‎

‎Edimbourg, Londres, 1855, 1860, in-4, 4 pièces en 1 volume, demi-chagrin noir moderne, Ce recueil ouvre sur les mémoires fondamentaux de James Clerck MAXWELL (1831-1879) sur la perception des couleurs, en éditions originales : - "Experiments on colour, as perceived by the eye, with remarks on colour-blindness". Extrait des Transactions of The Royal Society of Edinburgh, vol. XXI, part. II, 1855. Paginé 275 à 298. 1 planche en lithographie. - "On the theory of compound colours, and the relations of the colours of the spectrum". Extrait des Philosophical Transactions of the Royal Society of London, vol. 150, 1860. Paginé 57 à 84. 2 planches en lithographie. Le premier mémoire, lu le 19 mars 1855, est illustré d'une planche qui représente la toupie et les disques utilisés par Maxwell pour ses expériences au sein du laboratoire de J. D. Forbes à Édimbourg, un diagramme de couleurs selon le principe de Newton et un autre selon les expériences du Dr D.R. Hay, auteur d'un ouvrage de 1839 intitulé Nomenclature of Colours. Il inaugure une série de travaux publiés par le célèbre physicien sur la vision des couleurs et sur le daltonisme, à partir des expériences qu'il mena dès 1849 à Édimbourg et qui le conduisirent à confirmer l'hypothèse de Young : toutes les couleurs peuvent naître du mélange de trois couleurs du spectre, pourvu que l'on puisse additionner aussi bien que soustraire les stimuli lumineux. Le second article, lu devant la Royal Society le 22 Mars 1860, contient sa théorie définitive. Dans ce mémoire, illustré de deux planches de diagrammes, Maxwell décrit ses expériences et les instruments qu'il a mis au point pour les mener. La théorie des valeurs trichromatiques de Maxwell est considérée comme l'origine de la colorimétrie. Elle marque le retour de la physique et de la mesure de la lumière et de la couleur dans l'histoire scientifique. Sa méthode est à l'origine de la première photographie en couleurs, le cliché d'un ruban de tartan pris par Thomas Sutton, qu'il projette en 1861 devant un public où figure entre autres de Faraday. Les découvertes de Maxwell ont été récompensées par la médaille Rumford en 1860. Deux autres pièces ont été jointes à la suite : - George WILSON : "On the extent to which the received Theory of vision requires us to regard the eye as a camera obscura". Extrait des Transactions of The Royal Society of Edinburgh, vol. XXI, part. II, 1855. Paginé 327-347. Article qui a été publié à la suite des "Experiments on colour" de Maxwell. George Wilson, directeur du Musée Industriel d'Écosse, fut le premier à proposer une analyse statistique du daltonisme. Ses travaux ont servi à Maxwell pour ses recherches. - John William STRUTT, lord RAYLEIGH (1842-1919) : "On the colours of thin plates". Transactions of The Royal Society of Edinburgh, vol. XXXIII, 1885. Paginé 157-170. 1 planche dépliante en lithographie représentant un diagramme des couleurs. In fine a été rajoutée une planche dessinée à l'encre et légendée en français d'un diagramme de la série de couleurs. On joint, placée à la fin, une lettre manuscrite rédigée par un assistant bibliothécaire, John Hardy, au nom du Dr. Tscherning, secrétaire de la Royal Society of Edinburgh : elle s'adresse à son correspondant français, pour le dispenser de payer ces "soiled and broken copies" qui lui ont été envoyées. Quelques petits papillons manuscrits ont été contrecollés dans le second mémoire de Maxwell. DSB IX, pp. 200 et suiv. "James Clerck Maxwell" sur Colorsystem [en ligne]. Couverture rigide‎

‎Bon 4 pièces en 1 volume‎

‎The resolution of the eye and the principles of color camouflage of Kekcheev K.‎

‎"The resolution of the eye and the principles of color camouflage of Kekcheev K. H. Psychophysiology of camouflage and reconnaissance. Moscow: State Publishing House of Soviet Science; Profizdat 19 /Razreshayushchaya sposobnost glaza i printsipy tsvetomaskirovki Kekcheev K.Kh. Psikhofiziologiya maskirovki i razvedki. M.: Gosudarstvennoe izdatelstvo Sovetskaya nauka; tipografiya Profizdata 19 The resolution of the eye and the principles of color camouflage of Kekcheev K.H. Psychophysiology of masking and reconnaissance. Moscow: State Publishing House of Soviet Science; Profeszdat printing house 1942. 105 3 p. diagrams. 21.4 - 14.5 sm. SKUbds-5de8f071c652e7be."‎