‎FONTANA, Franco‎
‎Blue‎

‎Jazz News. Blue Star Revue puis Nouvelles du Jazz ( 7 Numéros Année 1948 - 1949 : N° 1 - 2 - 3 - 4 - 5 - 6 - 8) N° 1 : Noël 1948 ; 2 : 30 janvier 1949 ; 3 : Mars 1949 : 4 : Avril 1949 ; 5 spécial : Festival 49 Mai 1949 ; 6 : Juin 1949 ; 8 : Novembre 1949‎

‎7 numéros in-8 br., Blue Star Revue puis Nouvelles du Jazz, 1948-1949, 22 pp. par numéro : N° 1 : Noël 1948 ; 2 : 30 janvier 1949 ; 3 : Mars 1949 : 4 : Avril 1949 ; 5 spécial : Festival 49 Mai 1949 ; 6 : Juin 1949 ; 8 : Novembre 1949‎

‎Rare ensemble de la tête de série de la revue d'Eddie Barclay, prise en main au huitième numéro par Boris Vian. Bon état (qq. petit frott. d'usage) Prix du lot. On reconnaît en couverture, Duke Ellington, Sydney Bechet, Dexter Gordon et Melba Liston, Louis Armstrong, Bud Scott et Eddie Garland, Fats Novarro et Russel Moore.‎

‎Album photo du couronnement de George V et de la Reine Mary, 22 juin 1911 - King George V and Queen Mary coronation photo Album, 22nd June 1911 (Coronation Day, St Paul's Procession, Cannon Street, Oxford Street) Coronation Day : Territorials. Naval School - Life Guard drumms - Life Guards Engineers - Life Guards Band - Indians - Lord Mayor, King's Staff - Duke of Fife - Horse Guards - The King and Queen's state Carriage - The cream coloured poneys - Lord Roberts - Prince of Wales's carriage - Kronprinz and Kronprinzess of Germany's carriage - Prince's carriage - Speakers' carriage - Beef eaters - St Paul's Procession : Hussars - Infantry Band - Lancers Band - Canadians - Scot Greys Band - Indian Princesses - Indians Officers - Colonel Stratford, Colonel Staig, Sir Hedworth Lambton - Blue Jacketts - The King and Queen - Duc of Theh, Prince Louis of Battenberg, Sir Evelyn Wood, Prince Arthur - Duke of Connaught - Duke of Fife - Foreign Representation - Cannon Street : Sir Edward Henty Head of the Police - Canadian - Premier of Canada - Sir Alfred Coringto General Commander of London - King and Queen with Prince of Wale and Princess Mary - Oxford Street : The King's Outriders - The King and Queen carriage - Captain Arthur Wood of the Cameronans - Cold Stream Guards Major Marker ‎

‎Album photographique pleine toile format 27 x 28 cm, armes royales peinte en plat, 52 photos format carré 21,5 x 21,5 cm : Coronation Day : Territorials. Naval School - Life Guard drumms - Life Guards Engineers - Life Guards Band - Indians - Lord Mayor, King's Staff - Duke of Fife - Horse Guards - The King and Queen's state Carriage - The cream coloured poneys - Lord Roberts - Prince of Wales's carriage - Kronprinz and Kronprinzess of Germany's carriage - Prince's carriage - Speakers' carriage - Beef eaters - St Paul's Procession : Hussars - Infantry Band - Lancers Band - Canadians - Scot Greys Band - Indian Princesses - Indians Officers - Colonel Stratford, Colonel Staig, Sir Hedworth Lambton - Blue Jacketts - The King and Queen - Duc of Theh, Prince Louis of Battenberg, Sir Evelyn Wood, Prince Arthur - Duke of Connaught - Duke of Fife - Foreign Representation - Cannon Street : Sir Edward Henty Head of the Police - Canadian - Premier of Canada - Sir Alfred Coringto General Commander of London - King and Queen with Prince of Wale and Princess Mary - Oxford Street : The King's Outriders - The King and Queen carriage - Captain Arthur Wood of the Cameronans - Cold Stream Guards Major Marker‎

‎Bel album photographique, provenant de la bibliothèque d'Ernesta Stern (1854-1926) alias "Maria Star", écrivain fameuse pour son salon du Faubourg Saint-Honoré où elle accueillit notamment Marinetti ou Marcel Proust. Née Maria Ernesta Hierschel de Minerbi, elle épousa le banquier Louis Stern. Les photos sont prises pour la plupart depuis des tribunes officielles, près de Westminster Abbey pour le Coronation Day, puis St Paul's Procession, Cannon Street, Oxford Street. Beautiful photographic album, from the library of Ernesta Stern (1854-1926), writer famous for her salon in Faubourg Saint-Honoré where she notably welcomed Marinetti or Marcel Proust. Born Maria Ernesta Hierschel de Minerbi, she married the banker Louis Stern. Photos are mostly taken from official stands, near Westminster Abbey for Coronation Day, then St Paul's Procession, Cannon Street, Oxford Street.‎

‎7 livres Collection le verrou: 71-72-74-76-77-78-79: à chauque jour suffit son meurtre à bord du blue dream la bête de l'abime pan... dans le mille; bonjour toubib de mon coeur; prends garde; la mô‎

‎Ferenczi 1955 in12. 1955. Broché. 7 volume(s). 7 livres Collection le verrou: 71-72-74-76-77-78-79: à chauque jour suffit son meurtre à bord du blue dream la bête de l'abime pan... dans le mille; bonjour toubib de mon coeur; prends garde; la môme!; auto-stop‎

‎Etat correct couvertures défraîchies intérieurs jaunis circa 1955 couverture de "Pan-dans le mille" détachée‎

‎3 Shades of Blue - Johnny Hodges with Leon Thomas and Oliver Nelson (CD)‎

‎BMG Music CD 1997 "1 CD ""3 Shades of Blue"" de Johnny Hodges with Leon Thomas and Oliver Nelson ; 1. Empty Ballroom Blues 2. Duke's Place 3. Echoes of Harlem 4. Disillusion Blues 5. Yearning 6. Welcome to New York 7. Black, Brown and Beautiful 8. Rockin' in Rhythm 9. Creole Love Call 10 It's Glory ; très bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande."‎

‎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