‎COLLECTIF‎
‎COLOURS‎

‎On the Theory of Compound Colours, and the Relations of the Colours of the Spectrum. - [MAXWELL ON THE RELATIONS OF COLOURS]‎

‎(London, Taylor and Francis, 1860). 8vo. In the original printed wrappers. In ""Proceedings of the Royal Society"", Vol. X [10], No. 39. Entire issue offered. Wrappers with a few brown spots, fine and clean. Pp. 404-408. [Entire issue: Pp. 319-494].‎

‎First printing of Maxwell's paper on a method of exhibiting the relations of colours.""Maxwell worked on the generation of white light by mixing different colors and in 1860, published the paper On the Theory of Compound Colours and its Relations to the Colours of the. In this paper, he extended the work of Thomas Young who first postulated only three colors, red, green and violet are necessary to produce any color including white and not all the colors of the spectrum are necessary as first illustrated by Newton. He also incorporated Hermann G?nther Grassman's concept that there are three variables of color vision (spectral color, intensity of illumination and the degree of saturation). Maxwell showed that these color variables can be represented on a color diagram based on three primary colors. While Newton distinguished his principal colors from the painters triad of primary colors (red, yellow and blue), he supposed the identity of mixing rule for lights and pigments. Even though Helmholtz explained that the mixture of color lights is an additive process while the mixture of pigments is a subtractive process as illustrated in Figure 2, Maxwell made experiments and developed a complete theory to explain how this happens by creating a color triangle which was originally suggested by James David Forbes and illustrated that any color can be generated with a mixture of any three primary colors and that a normal eye has three sorts of receptors as illustrated in his 1861 paper On the Theory of Three Primary Colours. He chose the three primary colors as red, green, and blue."" (Sarkar, Pp. 4-5). From 1855 to 1872, Maxwell published at intervals a series of valuable investigations concerning the perception of colour, colour-blindness and colour theory, for the earlier of which the Royal Society awarded him the Rumford Medal. The instruments which he devised for these investigations were simple and convenient to use. For example, Maxwell's discs were used to compare a variable mixture of three primary colours with a sample colour by observing the spinning ""colour top."".‎

‎Polychroma: The Meaning of Colours in Roman Sculpture.‎

‎<p>Collection "Bibliothèque d'histoire et d'archéologie".</p><p><meta charset="utf-8"><span>Long ignored, sometimes knowingly, since the idea of its presence went against the ideals of a white and pure ancient sculpture propagated post Winckelmann, the polychromy of classical and late sculpture and architecture has been the subject of important research programmes for thirty years. Within this field of study, the book focuses on the peculiarity of Roman imperial polychromy and its late developments (first century BC – sixth century AD) to investigate the technical features and the socio-cultural meaning of colours.</span><br><span>After an assessment of the studies on polychromy already carried out, this book presents the first results of the EU-MSCA-IF PolyCHRoMA project, which documented traces of colours not immediately visible (lost colours) through the physico-chemical analysis of a new corpus of sculptural and architectural elements from some major European and North African museums (Musées royaux d’Art et d’Histoire de Bruxelles, Musée royal de Mariemont, Musée départemental Arles antique, Musée Saint-Raymond de Toulouse, Museo Archeologico di Milano, Museo Nazionale e Museo Arcivescovile in Ravenna, Bardo National Museum and others Tunisian collections). The systematic chronological and contextual study of these traces, before time ensures the loss of colours, confirms that polychromy offers a new source for assessing the cultural meaning of colour at the turn of the first millennium.</span></p> Milan, 2024 Silvana 352 p., nombreuses photographies couleur, broché. 17 x 24‎

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‎Idées d'un Militaire pour la Disposition des Troupes confiées jeunes officiers dans la Défense et l'Attaque des Petits Postes. Dédié a M. le Duc du Chatelet. - [THE FIRST BOOK SUCCESSFULLY PRINTED WITH COLOURS]‎

‎Paris, de l'Imprimerie de Franc. Amb. Didot l'Ainé. Chez Alexandre Jombert, jeune, 1783. 4to. Nice contemp. red hmorocco with 5 raised bands and richly gilt compartments. Corners restored. Light scratching to boards.Stamps on htitle. A small stamp on titlepage.. (14), 116, 60 pp. + 11 leaves of plate-description, on which the plates are mounted at top, 2 pp. of approbation and privilege. On thick, good paper. A very nice, crisp and complete copy w. clear colours. Apart from the stamps on the htitle, a fine, large and clean copy. The dedication-leaf (A monsieur Le Duc du Chatelet) with his large engraved coat of arms handcoloured.‎

‎First edition of the main work of the French military engineer Fossé (1734 - 1812). This military work, divided into two sections, one dealing with military strategies concerning defending and attacking, the other dealing with military plans and how to construct maps, is especially renowned for the extraordinary coloured plates by LOUIS MARION BONNET.The plates, depicting plans and maps, show for one of the first times the perfection of the illustrating-process called the CRAYON MANNER adapted to colour-printing, and the work is probably the first book printed using this technique. The technique of printing with colour only began about 20 years before this work was issued during the first many years, though, many attempts failed, and it wasn't till Bonnet came up with the coloured crayon manner that it was really a success. Bonnet increased the number of plates in order to make it possible to print with several colours. The crayon manner became a great success in Europe and is a fore-runner of the lithography-process. All the plates are signed by Bonnet and are in at least four colours.This work is also renowned for its splendid typography that later on became known as the Didot-style. Graesse II:620. Brunet II:1354.‎

‎Idées d'un Militaire pour la Disposition des Troupes confiées jeunes officiers dans la Défense et l'Attaque des Petits Postes. Dédié a M. le Duc du Chatelet. - [THE FIRST BOOK SUCCESSFULLY PRINTED WITH COLOURS]‎

‎Paris, de l'Imprimerie de Franc. Amb. Didot l'Ainé. Chez Alexandre Jombert, jeune, 1783. 4to. Cont. full mottled calf with gilt red title-label to richly gilt back. Neat professinal repairs to back, hinges and boards. Title-page and first few leaves with a bit of brownspotting, otherwise internally very nice and clean with only occasional scattered minor brownspotting. Woodcut printer's device to title-page, large coloured vignette to dedication-leaf (etched and colour printed), 11 coloured plates, 10 on which folded - all plates etched and colour-printed. Library-stamp on t-p. (14), 116, 60 pp. + 11 leaves of plate-description, on which the plates are mounted at top, 2 pp. of approbation and privilege. On thick, good paper. A very nice, crisp and complete copy w. clear colours.‎

‎First edition of the main work of the French military engineer Fossé (1734 - 1812). This military work, divided into two sections, one dealing with military strategies concerning defending and attacking, the other dealing with military plans and how to construct maps, is especially renowned for the extraordinary coloured plates by LOUIS MARION BONNET.The plates, depicting plans and maps, show for one of the first times the perfection of the illustrating-process called the CRAYON MANNER adapted to colour-printing, and the work is probably the first book printed using this technique. The technique of printing with colour only began about 20 years before this work was issued during the first many years, though, many attempts failed, and it wasn't till Bonnet came up with the coloured crayon manner that it was really a success. Bonnet increased the number of plates in order to make it possible to print with several colours. The crayon manner became a great success in Europe and is a fore-runner of the lithography-process. All the plates are signed by Bonnet and are in at least four colours.This work is also renowned for its splendid typography that later on became known as the Didot-style. Graesse II:620. Brunet II:1354.‎

‎Bacon Francis. Bacon essays: and Colours of good and evil. with notes and gloss‎

‎Bacon Francis. Bacon essays: and Colours of good and evil. with notes and glossary index by W. Aldis Wright / Bacon Essay: Colors of Good and Evil, with notes and glossary by W. Aldis Wright In English /Bacon Francis. Bacons essays: and Colours of good and evil. with notes and glossarial index by W. Aldis Wright/ Esse Bekona: Tsveta dobra i zla. s primechaniyami i glossariem U. Aldisa Rayta In English London Macmillan and co 1890. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb736e5750e9f81190.‎