51 books for « buttner f »Edit

‎Portrait of Emperor Servius Sulpicius Galba : Peter Paul Rubens (1577-1640) and the Series of Roman Emperors‎

‎, Phoebus Focus XXIV, 2021 Paperback, 80 pages, ENG, 210 x 145 mm, New, illustrated in colour / b/w. Phoebus Focus 24 ISBN 9789464366129.‎

‎Servius Sulpicius Galba was a Roman emperor who overthrew and succeeded Nero during the Year of the Four Emperors, 68-69 AD. In this ?Phoebus Focus? Nils Büttner places the extraordinary emperor portrait that Peter Paul Rubens (1577-1640) painted of him in its context. Büttner does not only whisks the reader off to first-century Rome, he also makes an analysis of Rubens? support medium and painting method, his fascination with Antiquity, his sources of inspiration and many inventions. In addition, Büttner elaborates on the long tradition of painting portraits of rulers and their integration in Baroque interiors.‎

‎Portret van keizer Servius Sulpicius Galba Peter Paul Rubens (1577-1640) en de Romeinse-keizerreeksen‎

‎, Phoebe Focus XXIV, 2023 Softcover, 80 pag. NL.,210 x 150 mm, Quadrichromie, Nieuw, illustr. in kleur / z/w. ISBN 9789464366112.‎

‎Servius Sulpicius Galba (kortweg Galba) is een Romeins senator en generaal die Nero in het Vierkeizerjaar, 68-69 n.Chr., ten val brengt en opvolgt. In deze editie van ?Phoebus Focus? plaatst Nils Büttner het bijzondere keizersportret dat Peter Paul Rubens (1577-1640) van hem maakte in zijn context. Büttner neemt de lezer niet alleen mee naar het Rome van de eerste eeuw, maar analyseert ook de drager en de schilderwijze van Rubens, zijn fascinatie voor de oudheid, zijn inspiratiebronnen en zijn vele inventies. Daarnaast gaat hij dieper in op de lange beeldende traditie van heersersportretten en hun plaatsing in barokke interieurs. In de reeks Phoebus Focus gaan experts en wetenschappers in op topstukken uit de rijke collectie van kunststichting The Phoebus Foundation.‎

‎Reflektorium. Ein graphisches Traktat. ‎

‎Schloss Lichtenberg Oph 1973 1 vol. relié in-8, cartonnage éditeur noir, non paginé. Édition tirée à 500 exemplaires numérotés présentant une série de dessins en noir. Exemplaire enrichi d'un envoi autographe signé de l'auteur, figurant sur le film On connaît la chanson (1997), au cinéaste Alain Resnais. Joint une plaquette : Le Bureau à quatre mains (imprimée à Paris en 1997, 6 pp.) par Juliana Jaeger et Reinhart Büttner. Exemplaire provenant de la bibliothèque d'Alain Resnais.‎

‎Novi Commentarii Societatis Regiae Scientiarum Gottingensis, Tomus VII ad A. 1786‎

‎Gottingae [Göttingen], Apud Joann. Christian Dieterich 1787 1 volume: xiv + 232 + 116pp.+ 19 engraved plates of which some folding, engraving at title page, hardcover (marbled boards "tree calf", spine in brown leather with title in gilt, minor defect at upper edge of spine), 23cm., text clean with few foxing, text in latin, very good condition, [CONTENT: HEYNE Chr.G., Praefatio (pp.i-xii), COMMENTATIONES PHYSICAE ET MATHEMATICAE ; DE HALLER A.: Commentatio De opii in corpus humanum efficacia (pp.1-16), MURRAY Jo.Andr.: Observationes in stirpes nonnullas novas vel rariores horti Botanici (pp.17-40 + 7pl.), WRISBERG Henr.Aug.: observationes anat. de quinto pare nervorum encephali etc. (pp.41-66 + 1pl.), BECKMANNI Jo.: Experimenta ligna tigendi ad opera tesselata quae adhibentur (pp.67-80), ERXLEBEN J.C.P.: Experimenta nonnulla Blackianam de aëre fixo doctrinam spectantia (pp.81-91), KAESTNER A.G.: Problematis Alhazeni analysis trigonometrica (pp.92-141 + 1pl.), MEISTER Alb.Lud.Frid.: Examen libellae hydrostaticae vulgaris (pp.142-209 + 3pl.) & LICHTENBERG G.C.: Enarratio observationum astronomicarum per a.1772 et 73, ad situm Hannoverae, Osnabrugi et Stadae determinandum inflitutarum (pp.210-232), COMMENTATIONES HISTORICAE ET PHILOLOGICAE; WALCH Chr.F. Franc.: Comm. De Sabaitis (pp.1-16), HEYNE Chr.G.: Etrusca antiquitas a commentitiis interpretamentis liberata (pp.17-47), GATTERER J.Ch.: Comm. De diplomatibus confirmationis (pp.48-105) & BUTTNER Chr. Wilh.: Comparatio et expositio alphabetorum omnium quotquot sunt populorum (pp.106-116 + 7 loose double-page plates)], W88351‎

‎Rubens a Genova‎

‎Buttner, Nils, Anna Orlando: Rubens a Genova. Exhibition: Genoa, Palazzo Ducale, 2022. 413 pages. Fully illustrated in colour. Paperback. 28x24cms. A consideration of Rubens' production in Genoa. Six chapters discuss his relationship with the city, its architecture, court life and political and social context. Also considers Rubens' depiction of women, important clients like Ambrogio Spinola and his treatment of the sacred and the profane. Each chapter includes a catalogue of exhibition highlights including illustrations, comparanda, provenance and bibliographies. Concludes with an exhibition checklist and layout. Text in Italian.‎

‎A consideration of Rubens' production in Genoa. Six chapters discuss his relationship with the city, its architecture, court life and political and social context. Also considers Rubens' depiction of women, important clients like Ambrogio Spinola and his treatment of the sacred and the profane. Each chapter includes a catalogue of exhibition highlights including illustrations, comparanda, provenance and bibliographies. Concludes with an exhibition checklist and layout. Text in Italian‎

‎Album nr. 12 - EUGEEN VAN MIEGHEM ( 1875 - 1930 ) EN DE KUNSTENAARSGROEP "DE SCALDEN",‎

‎Antwerpen, Eugeen van Mieghem Museum, 1999 softcover geniet, onder geillustreerde kartonomslag in z/w; 210 x 295mm;, 32pp., uitgebreide z/w illustratie.‎

‎Album nr. 12. In goede staat.‎

‎HISTORIAE, VOL. IV‎

‎B. G. Teubner. 1904. In-12. Relié. Bon état, Couv. légèrement passée, Dos satisfaisant, Intérieur bon état. 552 pages. Texte en grec ancien. Préface en latin. Auteur, titre, tomaison et filets dorés sur le dos.. . . . Classification Dewey : 480-Langues helléniques. Grec‎

‎Bibliotheca Scirptorum Graecorum et Romanorum Teubneriana. Editionem a Ludovico Dindorfio Curatam, Retractavit et Instrumentum Criticum Addidit Th. Büttner-Wobst. Classification Dewey : 480-Langues helléniques. Grec‎

‎Rubens prive, De meester portretteert zijn familie ‎

‎, Editions Marot , 2015 Hardback, 290x245mm, 272p, 200 colour illustrations, Dutch (NL) edition. ISBN 9782930117478.‎

‎In het voorjaar van 2015 loopt een unieke tentoonstelling over Peter Paul Rubens als portretschilder. Rubens had naar eigen zeggen een hekel aan het schilderen van portretten. En het stond in zijn tijd niet hoog aangeschreven in de kunsttheorie. Maar toch is Rubens een van de knapste portrettisten van zijn tijd. Zijn allermooiste en meest intieme portretten zijn ongetwijfeld de beeltenissen van zijn familie: zijn beide echtgenotes - de jong gestorven Isabella en beeldschone Helena -, zijn kinderen, zijn schoonzussen en zijn zwagers. En natuurlijk portretteerde de meester ook zichzelf. Deze werken werden niet in opdracht maar uit liefde geschilderd en dienden voor de memorie. Voor het eerst worden deze verbluffende kunstwerken gezamenlijk getoond en wel op de plaats waar zij thuishoren: de voormalige woning van Rubens in Antwerpen. De tentoonstelling is samengesteld door internationale Rubensspecialisten en laat een vijftigtal schilderijen en tekeningen zien, uit topmusea, waaronder de Uffizi in Florence, het British Museum in Londen, het Musee du Louvre in Parijs, de Hermitage in Sint-Petersburg, en de collecties van de Prins van Liechtenstein en de Engelse koningin. ‎

‎Mythological Subjects, Paris to Venus. Corpus Rubenianum Ludwig Burchard, vol. 11.3 Corpus ‎

‎Turnhout, Brepols, 2025 2 vols, 976 pages 175 x 260 mm, Illustrations:224 b/w, 91 col. English text. NEW . ISBN 9781915487636.‎

‎One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time there emerged a new, secular, genre of art devoted to the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. Still, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is a happy accident of history that so many of these splendid paintings are now widely visible in the great museums of the world. TABLE OF CONTENTS Volume One Preface Catalogue Raisonné - Paris and his Judgement of the Goddesses: Nos 101-106 - Phaeton?s Temerity and the Consequences: Nos 107-108 - Philemon and Baucis: No.109 - Procris and Cephalus: No. 110 - Prometheus: No. 111 - Proserpina?s Abduction by Pluto: No. 112 - The Story of Psyche: Nos 113-114 - Satyr Subjects: Nos 115-120 - Silenus, with Bacchic and Rustic Companions: Nos 121-129 - Venus: Her Loves and her Worship: Nos 130-139 - Vertumnus and Pomona: No. 140 - Rejected Attributions: Nos R1-5 Volume Two List of Figures Figures Bibliography Indexes I: Collections II: Subjects III: Other Works by Rubens Mentioned in the Text IV: Names and Places Sources of Photographs‎

‎Drawings Unrelated to Known Compositions, Corpus Rubenianum 28‎

‎, Brepols - Harvey Miller, 2025 hardcover, dusjacket, Pages: 272 pages, Size:175 x 260 mm, Illustrations:38 b/w, 129 col. Language:English. .NEW ISBN 9780905203782.‎

‎This volume is an oddity in the Corpus Rubenianum. Rather than being devoted to one particular project, or category of subject, it presents what at first sight might appear a miscellany of drawings. The works discussed here are indeed united only in the circumstance that they have proved difficult to associate directly with any particular painting or project undertaken by Rubens ? and, for the most part, they remain so. Many of these ?unrelated? sheets have been relegated to the margins of Rubens scholarship as a result of their ambiguous status, whether because of uncertainties regarding their attribution, their subject-matter or their function (or all three). Given the nature of the drawings catalogued here, many of which resist iconographic classification, the decision has been made to order the items chronologically, so that they can be seen at least in relation to Rubens?s stylistic development. The present publication is essentially a compilation based on the current state of research on individual items. At the same time it introduces new perspectives on, and suggests a few solutions to, some old problems, as well as shedding light on aspects of Rubens?s work that have been largely, and sometimes unjustly, overlooked. TABLE OF CONTENTS Preface Introduction: Rubens as a Draugthsman - Introduction - Development, Technique and Purpose - Materials and Functions Catalogue Raisonné List of Figures Figures Bibliography Indexes I: Collections Ii: Subjects III: Other Works by Rubens Mentioned in the Text IV: Names and Places Sources of Photographs‎

‎Planetino 1, Deutsch für Kinder: Arbeitsbuch‎

‎Hueber Verlag (5/2009)‎

‎LIVRE A L’ETAT DE NEUF. EXPEDIE SOUS 3 JOURS OUVRES. NUMERO DE SUIVI COMMUNIQUE AVANT ENVOI, EMBALLAGE RENFORCE. EAN:9783193115775‎

‎Planetino 1, deutsch für Kinder: Kursbuch‎

‎Hueber Verlag (10/2008)‎

‎LIVRE A L’ETAT DE NEUF. EXPEDIE SOUS 3 JOURS OUVRES. NUMERO DE SUIVI COMMUNIQUE AVANT ENVOI, EMBALLAGE RENFORCE. EAN:9783193015778‎

‎Circumcellionen und Adamiten. Zwei Formen mittelalterlicher Haeresie. ‎

‎Berlin, Ak. Verlag, 1959. ‎

‎141 p. Cloth. (Forsch. zur Mittelalt. Gesch. 2) ‎

‎Tamburin 1 - Deutsch Für Kinder‎

‎ Broché bon état .Contenu propre . Annotations en page de garde . 88 pages .2004. PHOTOS SUR DEMANDE ‎

‎ Merci de nous contacter à l'avance si vous souhaitez consulter une référence dans notre boutique à Authon-du-Perche.‎

‎Genre Scenes, Corpus Rubenianum Ludwig Burchard part XVII‎

‎, Brepols - Harvey Miller, 2019 Hardcover with dusjacket,464 pages., 130 b/w ill. + 70 colour ill., 180 x 265 mm,. *new ISBN 9780905203737.‎

‎This volume catalogues the paintings and drawings that Ludwig Burchard (1886?1960) gathered under the heading Genre Scenes when planning his catalogue raisonné of Rubens's oeuvre. Not that Rubens has ever been thought of as a genre painter in the conventional sense of the term. Besides, even the individual works assembled here do not accord with the customary definitions of genre painting, a category of subject-matter that was introduced relatively late in the history of art. The famous Garden of Love in the Prado, for example, with its fluttering amoretti, is more accurately described as an allegory. Even the picture in the Louvre frequently referred to as the Kermesse clearly does not reproduce an actual kermis or any other such event as witnessed by the artist, but is a fictional construct in which precisely observed details are designed to convey a message that is more symbolic than realistic in content. Yet no history of genre painting can fail to include Rubens. His pictures occupy a firm place in the relevant section of any imaginary museum of European art, whatever strictures the guides to that museum may apply. The works discussed in this volume belong to the most famous creations of the painter. They are also among the most personal of his inventions. Most of them were never sold by Rubens, but remained in his possession, a circumstance that suggests they should be viewed as a particular artistic legacy. That is not to say that they did not offer contemporaries a wide range of possible interpretations unconnected with the artist?s own life. For a historically appropriate interpretation it is essential to examine closely not only the artistic process of creation, but also the former contexts of the pictures. Establishing the most complete provenance possible not only for the primary version of a composition but for all the various copies plays an important part in this process.‎

‎The Illuminated Psalter. Studies in the Content, Purpose and Placement of its Images.‎

‎ Turnhout, Brepols, 2004. In-4, rel. éd. pleine-toile enduite bleue nuit, titre en doré sous jaquette ill. en coul., VIII-616 pp., 472 reprod. photogr. en n/b. réunies en pl., 28 contributions multilingues, bibliographie, index, tables. Epuisé chez l'éditeur, rare. ‎

‎ Comme neuf. - Frais de port : -France 9,7 € -U.E. 13 € -Monde (z B : 23 €) (z C : 43 €) ‎

‎L'ART DES PAYSAGES.‎

‎Citadelles Paris 2006 In-4 ( 330 X 230 mm ) de 413 pages, pleine toile sous jaquette et étui illustrés en couleurs. Illustrations en couleurs et en noir dans et hors-texte. Très bel exemplaire en superbe état.‎

‎The Lady and the Unicorn. The dévelopment of the Human Soul as Pictured in the Cluny Tapestries.‎

‎ Stroud, Hawthorn Press, 1995. In-4, cart. éd. ill. en coul., 80 pp., 16 planches en coul., texte en anglais. Envoi manuscrit de l'auteur. ‎

‎ Comme neuf. - Frais de port : -France 6,9 € -U.E. 9 € -Monde (z B : 15 €) (z C : 25 €) ‎

‎Works in Collaboration Frans Snijders and Other Masters. Corpus Rubenianum Ludwig Burchard, vol. 27.2‎

‎, Brepols - Harvey Miller, 2025 hardcover, dusjacket, 290 pages, Size:175 x 260 mm, Illustrations:65 b/w, 42 col., Language(s):English. *New. ISBN 9781915487582.‎

‎Summary Peter Paul Rubens already had assistants working for him in his studio when he first gained admission to the Antwerp Guild of St Luke in 1598. At this period too he began to co-operate with other masters, such as Jan Brueghel the Elder; a separate volume, dedicated to that collaboration, was published in 2016 (Corpus Rubenianum Ludwig Burchard, XXVII (1): Jan Brueghel I & II). On his return from Italy in 1609, not only did Rubens?s studio assistants increase in number, so too did the co-operative projects that the artist undertook. Rubens continued to work with Jan Brueghel the Elder until 1621. When Brueghel died in 1625, his son Jan continued the partnership with Rubens until the latter?s death in 1640. Similarly productive was the collaboration between Rubens and the still life and animal painter Frans Snijders. It began shortly after Rubens's return to Antwerp and is reflected in various large-format works for the courts of Brussels and Madrid [?], but also in smaller ?cabinet? paintings, some of which were executed by members of the respective workshops of the two masters. The collaboration soon extended to the studio of the animal painter Paul de Vos, whose sister Margriete had married Snijders in 1611. One such joint painting was still in Rubens?s possession at the time of his death and was listed in the 1640 catalogue of the works for sale from the artist?s estate. This document also reveals that, among the paintings by other masters that he owned, Rubens possessed a surprisingly large quantity by the Dutch landscape and genre painter Cornelis Saftleven. Rubens had worked with Saftleven during his stay in Antwerp at the beginning of the 1630s, and evidently appreciated his talent, even if this collaboration can be represented only by a single painting. The present is devoted to Rubens?s fruitful partnership with Frans Snijders, as well as to his collaborations with Paul de Vos and Cornelis Saftleven. It thus contributes not only to the documentation of Rubens?s oeuvre, but also to the understanding of workshop practices and the lives and social networks of painters in the city of Antwerp. -- Catalogue Raisonné Rubens and Snijders: An Enduring Alliance Rubens and Paul de Vos Rubens and Cornelis Saftleven‎

‎Des préfectures aux champs de batailles de l'empire. LES COMPAGNIES DE RÉSERVE DÉPARTEMENTALES 1805-1814 ‎

‎Paris Université Paul Valéry Montpellier III / Centre d'Histoire Militaire et d'Etudes de Défense Nationale 1987 in 4 (29x20) 1 fort volume broché, jaquette illustrée en couleurs, XIV et 485 pages, avec des illustrations hors texte en couleurs de L. Rousselot, Rigo, P. Opic. Préface de Jean Tulard. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Très bon Couverture rigide Ed. limitée ‎

‎zeeman en een vrouw in omhelzing Peter Paul Rubens (1577-1640) en de moderne schilderkunst‎

‎Antwerp, Phoebus Focus XV, 2020 Paperback, 79 pages, 21,1 x 14,1 x 1,1 cm. Illustrated. Text in NL. ISBN 9789463883375.‎

‎Phoebus Focus 15 - Een zeeman en een vrouw in omhelzing Peter Paul Rubens (1577-1640) en de moderne schilderkunst‎

‎Blind Date Portretten met Blikken en Blozen‎

‎, Hannibal Books, 2020 HARDCOVER 290 x 250 mm, 288 pages, NL edition met prachtige illustraties in kleur. ISBN 9789463887397.‎

‎Mannen in statig zwart, vrouwen met molensteenkragen, kinderen met gouden rammelaars, oude besjes en zelfgenoegzame kunstenaars? Ze zijn de hoofdrolspelers op zowat ieder portret dat ooit werd geschilderd in de Zuidelijke Nederlanden. Van de vijftiende tot de zeventiende eeuw is het kleine lapje grond dat vandaag ?Vlaanderen? heet het economische en culturele, intellectuele en financiële hart van Europa. En geld moet rollen: iedereen die het zich kan veroorloven, investeert in een portret. Vandaag hebben de gekoesterde statussymbolen van weleer hun oorspronkelijke betekenis grotendeels verloren. Van functioneel en emotioneel transformeerden de portretten tot toegangspoortjes tot het verleden. Aan de hand van topstukken uit de collectie van The Phoebus Foundation schetst dit boek de brede context waarin ze tot stand kwamen. Het pelt de betekenislagen van de voorstellingen, als waren het rokken van een ui. Want of het nu gaat om een indrukwekkende Rubens of Van Dyck, of om een intiem portret door een vergeten kunstenaar: ooit waren de mensen op deze schilderijen van vlees en bloed. Ze hadden eigenaardigheden en verborgen agenda?s, ambities en hogere doelen. Soms zijn die hoogstpersoonlijk en hyperindividueel. Soms ligt er een laagje stof op, en zijn de dames en heren kinderen van hun tijd. Meestal echter, zijn hun dromen en pretenties verrassend tijdloos en ontnuchterend herkenbaar. Blind Date is een afspraak met de geschiedenis: een ontmoeting met geportretteerde mannen en vrouwen uit vervlogen eeuwen. Maar voor wie bereid is om goed te kijken, blijkt de grens tussen heden en verleden flinterdun. HET VERHAAL VAN DE VLAAMSE PORTRETKUNST VERTELD AAN DE HAND VAN TOPSTUKKEN UIT DE COLLECTIE VAN THE PHOEBUS FOUNDATION De gelijknamige tentoonstelling Blind Date. Portretten met blikken en blozen loopt van 14 maart tot 31 december 2020 in het Snijders&Rockoxhuis Antwerpen, gecureerd door dr. Katharina Van Cauteren & Hildegard Van de Velde en in een scenografie van Walter Van Beirendonck.‎

‎La maison bourgeoise en Europe‎

‎ 1982 Pygmalion & Watelet, 1982; In-4 relié 27,5 cm sur 24; jaquette illustrée, boite carton; 346 pages. Les origines de la maison bourgeoise / Premiers contours à l'époque romane / Description des types gothiques / La réforme stylistique de la Renaissance / Le baroque de cour et son cortège / Désagrégation d'une mission architecturale au XIXe siècle. Abondamment illustré de photos en noir et en couleurs, de schémas et de plans.;Tres bon état ‎

‎Medici Series Corpus Rubenianum Ludwig Burchard XIV.1 The Medici Series 14.1‎

‎, Brepols - Harvey Miller, 2024 Hardcover with dusjacket, 2 vols Pages: 802 pages, Size:180 x 265 mm Illustrations:158 b/w, 110 col., 1 tables b/w. Language(s):English. ISBN 9781915487278.‎

‎The decoration of the Luxembourg Palace galleries was the largest commission Rubens ever received. On Saturday 26 February 1622, the artist signed two contracts at the Louvre with the agreement ?to make and paint with his own hand each and every one of the figures? of the paintings which would decorate the two parallel galleries of the palace that the Queen Mother, Maria de? Medici (1573?1642), had begun to have built on the left bank of the Seine. According to the first contract, the western gallery was now ready and Rubens ?will be bound and obliged to design and to paint with his own hand twenty-four paintings depicting the history of the very illustrious life and heroic exploits? of the Queen Mother, conforming to an incomplete memoir, of which he had received a copy. Rubens arrived in Paris to put the final touches to the finished canvases celebrating the life of Maria de? Medici at the beginning of February 1625. But at this time the eastern gallery, planned to display the ?battles? and triumphs? of King Henri IV (1553?1610), Maria?s late husband, was still under construction. The Henri IV Gallery was to be an unfinished masterpiece: after a temporary suspension of the work in 1630, the project was definitively abandoned in 1631. Alexis Merle du Bourg?s in-depth study of the Henri IV Series was published as Part XIV.2 of the Corpus Rubenianum Ludwig Burchard in 2017. The present volume charts the earlier part of the Medici commission, which happily survives, splendidly completed. It presents Maria in her relationship with Henri, her public role after her husband?s death and, not least, her difficulties and then reconciliation with Louis XIII, her son. Here Rubens invoked the gods of ancient myth and a whole company of personified abstractions to help mask problematic episodes, dignify banal events and create a glorious commemoration of the life and aims of the Queen Mother.‎

‎Jardins en peinture‎

‎Imprimerie nationale (3 septembre 2008)‎

‎Relié, jaquette illustrée, nombreuses illustrations, comme neuf. Coins légèrement frappés.‎