‎Collectif‎
‎Spécial D.T.A.T‎

‎Fillette, Jeune fille - année 1961 - n°755 à 767 + 769 + 773 + 777 + 781 à 794 + 796 + 797 + 804 - du 5 janvier au 14 décembre 1961 + spécial Pâques, Mai, Juin, Rentrée et Noël - Ce soir, je serai reine - L'adorable homme des neiges - Le goûter d'annivers‎

‎Offenstadt / Société Parisienne d'Edition. 1961. In-8. En feuillets. Etat d'usage, Couv. défraîchie, Agraffes rouillées, Papier jauni. 26 pages par numéro - illustrations en couleurs et noir et blanc dans et hors texte - bandes dessinées en couleurs et noir et blanc - possibles pliures et/ou déchirures dans le texte - possibles pages manquantes - Spécial : état d'usage, 48 pages illustrées en noir et blanc dans et hors texte, 2eme plat manquent pour le spécial Noel, plats détachés pour le spécial Pâques, renfort adhésif aux dos - n°757 + 792 + Spécial rentrée et spécial Juin en 2 exemplaires. . . . Classification Dewey : 70.49-Presse illustrée, magazines, revues‎

‎Ce soir, je serai reine - L'adorable homme des neiges - Le goûter d'anniversaire - moi je tricote - Vers les cîmes ... Spécial Paques : Madga, une aventure au chateau - Sylvia, Lapins de paques - Le silence est d'or - Le beau billet tout neuf - ... Spécial Mai : L'enfant célèbre d'Emily Bronston - Le bouddha disparu - Une bonne action catastrophique - Silvia, du muguet à croquet - Oscar dans la forêt vierge -... Spécial Juin : Oscar dans la foret vierge - Papillons, amitié et jalousie - Marc en vacances - Une petite faible femme - Sylvia, une partie de campagne - ... spécial Rentrée : Je ne dirai rien - Sylvia en croisière *- Dauphin, le chien galeux - Oscar dans la foret vierge - Le sac de la dame en noir - Le petit roi Ibello - ... Spécial Noel : Oscar dans la foret - Le petit roi Ibello - Un magnifique cadeau - On l'appelait Mélissandre - Moujick ou l'heureux accident - Sylvia fait du karting... Classification Dewey : 70.49-Presse illustrée, magazines, revues‎

‎Kozlov S. Special Forces of the GRU Special Forces: Essays on History. A Histori‎

‎Kozlov S. Special Forces of the GRU Special Forces: Essays on History. A Historical Encyclopedia in 5 Volumes (6 Books) In Russian (ask us if in doubt)/Kozlov S. Spetsnaz GRU Spetsnaz GRU: Ocherki istorii. Istoricheskaya entsiklopediya v 5 tomakh (6 knigakh)Series: Historical Encyclopedia of Special Forces of the GRU Russian Panorama 2009-2014 p. Historical Encyclopedia compiled by hereditary officer Sergei Vladislavovich Kozlov a combat veteran In Afghanistan and editor of the Special Forces section of the website Agentura.ru written In collaboration with many people who know firsthand the practice and theory of military In telligence In cludes volumes: 1. Historical background to the creation of the Special Forces. 1701-1941-2. Historical background to the creation of the Special Forces. 1941-1945-3. Creation history: from company to brigade. 1950-1979-4. Afghanistan: the starry hour of the Special Forces. 1979-1989-5. TimelIn ess. 1989-1999-6. Modern history. 1999-2010 304 color and black-white photo illustrations on the ta. SKUalb83b67714ae266bc8.‎

‎L'Art et les Artistes. Revue d'art ancien et moderne [ Ensemble des 18 premiers tomes : d'Avril 1905 à Mars 1914 ] Tome 1 : [ Avril - Septembre 1905 ] (avec les suppléments illustrés) ; Tome 2 : Octobre 1905 - Mars 1906 (avec les suppléments illustrés) ; Tome 3 : Avril - Septembre 1906 (avec les suppléments illustrés) ; Tome 4 : Octobre 1906 - Mars 1907 (avec les suppléments illustrés) ; Tome 5 : Avril - Septembre 1907 ; Tome 6 : Octobre 1907 - Mars 1908 ; Tome 7 : Avril - Septembre 1908 ; Tome 8 : Octobre 1908 - Mars 1909 ; Tome 9 : Avril - Septembre 1909 ; Tome 10 : Octobre 1909 - Mars 1910 ; Tome 11 : Avril - Septembre 1910 ; Tome 12 : Octobre 1910 - Mars 1911 ; Tome 13 : Avril - Septembre 1911 ; Tome 14 : Octobre 1911 - Mars 1912 (avec numéro spécial : Artistes animaliers. Barye peintre) ; Tome 15 : Avril - Septembre 1912 (avec numéro spécial : Artistes animaliers. Barye peintre) ; Tome 16 : Octobre 1912 - Mars 1913 (avec numéro spécial : Artistes animaliers. Barye peintre) ; Tome 17 : Avril - Septembre 1913 (avec article sur Mathurin Méheut) ; Tome 18 : Octobre 1913 - Mars 1914 (avec numéro spécial : La Peinture en Orient et en Extrême-Orient)‎

‎18 vol. in-4 reliure uniforme de l'époque demi-chagrin à coins brun, dos à 5 nerfs, rappel des titres complet : L'Art et les Artistes. Revue d'art ancien et moderne [ Ensemble des 18 premiers tomes : du Tome 1 de 1905 au Tome 19 de 1914 ] Tome 1 : [ Avril - Septembre 1905 ] (avec les suppléments illustrés) ; Tome 2 : Octobre 1905 - Mars 1906 (avec les suppléments illustrés) ; Tome 3 : Avril - Septembre 1906 (avec les suppléments illustrés) ; Tome 4 : Octobre 1906 - Mars 1907 (avec les suppléments illustrés) ; Tome 5 : Avril - Septembre 1907 ; Tome 6 : Octobre 1907 - Mars 1908 ; Tome 7 : Avril - Septembre 1908 ; Tome 8 : Octobre 1908 - Mars 1909 ; Tome 9 : Avril - Septembre 1909 ; Tome 10 : Octobre 1909 - Mars 1910 ; Tome 11 : Avril - Septembre 1910 ; Tome 12 : Octobre 1910 - Mars 1911 ; Tome 13 : Avril - Septembre 1911 ; Tome 14 : Octobre 1911 - Mars 1912 (avec numéro spécial : Artistes animaliers. Barye peintre) ; Tome 15 : Avril - Septembre 1912 (avec numéro spécial : Artistes animaliers. Barye peintre) ; Tome 16 : Octobre 1912 - Mars 1913 (avec numéro spécial : Artistes animaliers. Barye peintre) ; Tome 17 : Avril - Septembre 1913 (avec article sur Mathurin Méheut) ; Tome 18 : Octobre 1913 - Mars 1914 (avec numéro spécial : La Peinture en Orient et en Extrême-Orient)‎

‎Impressionnante tête de série réunissant les 18 premiers tomes de l'importante revue artistique fondée par Armand Dayot, "L'Art et les Artistes", bien complet des suppléments et numéraux spéciaux. La richesse de ses illustrations (avec de nombreuses eaux-fortes originales et quelques illustrations en couleurs) et la compétence de ses nombreux collaborateurs et artistes font de cette revue une source importante pour l'histoire de l'art. Bon ensemble en reliure uniforme (lég. traces d'humidité en mors en dos, rares rouss., une curieuse aquarelle en découpage montée sur onglet p. 144 du tome 15, sans faux-titre ni titre au premier tome, bon exemplaire par ailleurs, ex-libris héraldique "Bibliothèque du Château de Montaren"), peu commun.‎

‎Die Religion innerhalb der Grenzen der blossen Vernunft. - [ONE OF NO MORE THAN A HANDFUL COPIES ON SPECIAL PAPER, GIVEN BY KANT TO HIS CLOSE FRIEND HASSE]‎

‎Königsberg, Friedrich Nicolovius, 1793. 8vo. In the original bluish cardboardbinding, with handwritten title to spine. Binding very neatly restored at spine and extremities. Previous owner's inscriptions to front free end-paper and title-page as well as pasted-down front end-paper. One leaf with a tiny closed tear to blank outer margin and some leaves with a single hole to the blank outer margin. Light pencil-underlinings and -markings to a few leaves. Internally clean and fresh. Printed on very heavy paper (about three times the thickness of the normal paper) and with wide margins. XX, (2), 296, (2, -errata) pp. Housed in a beautiful marbled half calf box in pastiche-style, with splendidly gilt spine and gilt morrocco title-label.‎

‎Extremely rare presentation-copy inscribed by the recipient, a close friend of Kant, Johann Gottfried Hasse, to whom Kant gave the present copy. The copy is one of no more than perhaps five copies printed on special paper of the first edition of Kant's ""Religion Within the Boundaries of Mere Reason"", the seminal work in which he develops his religion of reason and most fully accounts for his philosophy of religion.This magnificent copy is completely unique. Not only is one of only four or five presentation-copies printed on special paper - perhaps less - that Kant himself requested from the printer, to be given to a handful of recipients"" we also know to whom it was given, namely his close friend and professor of religion Johann Gottfreind Hasse. And Hasse has not only put his ownership signature in the book, he has also noted that it was given to him by Kant in the year of publication (""Donum auctoris 1793"").We have not been able to find information anywhere about the presentation-copies of ""Religion innerhalb der Grenzen der blossen Vernunft"" specifically. There is nothing in the Kant-correspondence about that at all, and no letters to/from the publisher about them have been preserved. But we know that Kant commissioned four or five copies of ""Critik der Urtheilskraft"" on special paper and four copies of ""Critik der reinen Vernunft"". The present copy is clearly on special paper as well (about three times the size of copies on normal paper), so even though it is not mentioned anywhere, it is fair to assume that Kant also ordered about a handful copies of ""Religion..."" to be printed on special paper as well. However, this number might be smaller. As opposed to the other two books that we know he commissioned these copies of, the publication of ""Religion..."" was caught up in a controversy over censorship, and Kant was given a reprimand in the name of the Prussian emperor, Friedrich Wilhelm II. Kant was forced to pledge not to publish on matters of religion. Furthermore, copies of the ""Religion..."" on special paper seem not to have appeared anywhere, as opposed to the very few copies of the two other works that have surfaced"" so all in all, there is absolutely no reason to think that he should have commissioned more than four or five copies of this book either. The inscription to the front free end-paper is in Hasse's hand and reads ""(Donum auctoris 1793.)/ J.G. Hasse"". The name of Hasse has been crossed out by the later owner, who has written his name underneath ""N. Grosch...(?)/ stud. Theol./ Som[mer]. Semest[er]. [18]05"" and on the title-page.The Königsberg professor J.G. Hasse (1759-1806) was a close friend of Kant and a frequent guest at his dinner table. He was a then famous German evangelist theologian and orientalist. After having graduated from the University of Jena in 1784, he became assistant professor at the faculty of philosophy there. Due to his very respected publications within science of religion, he became professor of oriental languages and later professor of theology, which is the position he possessed, when Kant gave him the present copy of his own main work on religion. A few years later, in 1801, he took over Kant's position at the academic Senate, after Kant retired from academic life. And in the last years of Kant's life, Hasse grew even closer to him. He was a frequent guest in his home and a close friend. Hasse was furthermore one of the first to publish a biography of Kant. This biography became particularly famous, because it was written by someone in the inner circle of friends. There is no doubt that Kant had tremendous respect for the renowned professor of religion, to whom he gave one of the only four or five copies printed on special paper of his own definitive work on religion. This is presumably the best presentation- or association-copy of a Kant-book that one can hope to come across. Warda: 141.‎

‎Critik der Urtheilskraft. - [ONE OF FOUR OR FIVE COPIES PRINTED ON SPECIAL PAPER]‎

‎Berlin u. Libau, Lagarde und Friederich, 1790. 8vo (204 x 135 x 60 mm). Near contemporary marbled paper binding with gilt green title-label to spine. Hinges and capitals neatly restored. Old ownership-stamp to title-page. Mid-nineteenth-century Viennese bookseller's label to pasted-down back end-paper. Occasional light foxing in some margins, otherwise clean and bright. Printed on special, heavy paper, making the volume nearly double the thickness of regular copies. LVIII, 476 pp., (1) f. (errata).‎

‎Extremely rare copy, printed on special paper, of the first edition of Kant's seminal ""Critique of Judgment"", the third and last of his critiques, which ""Kant himself regarded [..] as the coping-stone of his critical edifice"" it even formed the point of departure for his successors, Fichte, Schelling and Hegel, in the construction of their respective systems."" (J.H. Bernard in the introduction to his translation of ""Critique of Judgment). THIS MAGNIFICENT COPY IS UNLIKE ANY OTHER WE HAVE SEEN - ONE OF ONLY FOUR OR FIVE PRESENTATION-COPIES PRINTED ON SPECIAL PAPER THAT KANT HIMSELF REQUESTED FROM THE PRINTER, TO BE GIVEN TO A HANDFUL OF NAMED RECIPIENTS. From a letter to Lagarde from January 21st 1790 (see ""Briefwechsel von Imm. Kant"", ed. Fischer, Müller, 1912, pp. 110-11), we know that Kant had requested 20 author's copies, four of them to be printed on special paper. While the book was in the press, Kant sent Lagarde a list of presentees to whom copies on special paper should be sent. He now named five recipients, so we assume that five copies were printed on special paper, instead of the original requested four copies. The recipients were: Count J.N. Windisch-Grätz, F.H Jacobi, K.L. Reinhold, L.H. Jacob and J.F. Blumenbach (see letter to Lagarde, March 25th, 1790, ""Briefwechsel von Imm. Kant"", ed. Fischer, Müller, 1912, pp. 126-7). As far as we know, none of these five presentation-copies have been traced and we have never seen one of them before. Neither do we know which of the five recipients received the present copy.Together with his two other critiques, the ""Critique of Judgment"" arguably constitutes the most important contribution to philosophy since Aristotle and Plato. Kant's seminal third critique was extremely influential from the time of its appearance - Goethe said said it was the first philosophical book ever to move him, and Fichte called it ""the crown of the critical philosophy"""" ""...not only did Goethe think highly of it, but it received a large measure of attention in France as well as in Germany on its first appearance. Originally published at Berlin in 1790, a Second Edition was called for in 1793"" and a French translation was made by Imhoff in 1796. Other French versions are those by Keratry and Weyland in 1823, and by Barni in 1846."" (J.H. Bernard). In the ""Critique of Judgment"", Kant develops philosophical aesthetics and teleology that comprises nature and art. This aesthetics fulfills an essential systematic function in the Kantian architectonic. It bridges the gap between reason and nature, thus serving as a complement to practical reason of which Kant had proposed a critique two years earlier.The third critique is essential to an understanding of Kant's project of a critical philosophy. It is here that he seeks to join the dimensions of human experience which he had laid bare in the two previous critiques. A number of the conceptual foundations he had laid from 1782 break down, as he tries to demonstrate that aesthetics mediates between the realm of sensibility and that of reason.In order to do so, he sets out to show that aesthetic intuition ranges over both realms. The key to this demonstration is the claim that the two realms are isomorphic. However, as Kant considers the aesthetic judgment of the products of man's artistic invention, he cannot fit them into the format of a teleology of nature. Instead, he develops a conceptual framework for aesthetic judgment which explains why the first section on the faculty of aesthetic judgment swelled to the point of dwarfing the section on the teleology of nature.In the third critique the tension which inhere in the project of a critical philosophy rises to the surface. The third critique thus provides us with an invaluable glimpse into the actual workings of the mental faculties that Kant attempted to chart in his philosophy. For this very reason, the third critique provided the point of departure for much of later idealist philosophy, especially that of Hegel whose speculative philosophy can be seen as an articulation of the topics which Kant had uncovered in the third critique. ""...the Critique of Judgement completes the whole undertaking of criticism" its endeavour is to show that there are a priori principles at the basis of Judgement just as there are in the case of Understanding and of Reason that these principles, like the principles of Reason, are not constitutive but only regulative of experience, i.e. that they do not teach us anything positive about the characteristics of objects, but only indicate the conditions under which we find it necessary to view them" and lastly, that we are thus furnished with an a priori philosophy of pleasure."" (J.H. Barnard). Warda: 125. ‎