‎Rules for Resuscitation from Electrical Shock by the Prone Pressure Methode Recommended by Commission on Resuscitation From Electric Shock... (Revised edition).‎

‎Ontario, Hydro-Electric Power Commission, 1919. 30, [ii blank] pp. 12mo (9 x 14 cm.). Original printed boards with rounded corners. With 3 photographic plates.‎

‎On pp 20-30 are the Proceedings and Resolutions of the Third Resuscitation Commission. "The prone pressure method of artificial respiration is equally applicable to resuscitation from electrical shock as well as all cases of suspended respiration due to drowning, inhalation of gas, smoke or fumes, or other causes."‎

‎Luminaires retro‎

‎Larrey cartonnage éditeur grand in 8 à l’italienne, uniformément terni et un peu frotté mais bien propre et solide ‎

‎ Bon état d’occasion ‎

‎Announcing his discovery of ultraviolet light ""Von den Herren Ritter und Bückmann. - - Am 22sten Febr. habe ich auch auf der Seite des Violetts im Farbespectrum, ausserhalb desselben, Sonnenstrahlen angetroffen....‎

‎Halle, Rengerschen Buchhandlung, 1801. Without wrappers as published in ""Annalen der Physik. Herausgegeben von Ludwig Wilhelm Gilbert"", Bd. 7, Viertes Stück. The entire issue offered (=Heft 4). Pp. 387-528. Ritter's announcement p. 525. With titlepage to volume 7. Clean and fine. Titlepage a bit shavedin inner margin.‎

‎First printing of Ritter's announcement of his discovery of ultraviolet light in a halfpage letter addressed to Gilbert's Annalen. With that discovery, it became clear that visible light represents no more than a fraction of a continous spectrum.A year earlier, in 1800, William Herschel discovered infrared light. This was the first time that a form of light beyond visible light had been detected. After hearing about Herschel's discovery of an invisible form of light beyond the red portion of the spectrum, Ritter decided to conduct experiments to determine if invisible light existed beyond the violet end of the spectrum as well. He had heard that blue light caused a greater reaction in silver chloride than red light did. Ritter decided to measure the rate at which silver chloride reacted to the different colors of light. He directed sunlight through a glass prism to create a spectrum. He then placed silver chloride in each color of the spectrum and found that it showed little change in the red part of the spectrum, but darkened toward the violet end of the spectrum. Johann Ritter then decided to place silver chloride in the area just beyond the violet end of the spectrum, in a region where no sunlight was visible. To his amazement, this region showed the most intense reaction of all. This showed for the first time that an invisible form of light existed beyond the violet end of the visible spectrum. This new type of light, which Ritter called Chemical Rays, later became known as ultraviolet light or ultraviolet radiation (the word ultra means beyond). - Parkinson, Breakthroughs: 1801 P.‎

‎Versuche über das Sonnenlicht.‎

‎Halle, Rengerschen Buchhandlung, 1803. Without wrappers as extracted from ""Annalen der Physik. Herausgegeben von Ludwig Wilhelm Gilbert"", Jahrgang 1802, Bd. 12, Zwölftes Stück. Pp. 409-416. Titlepage to vol. 12.‎

‎This is Ritter's first expositon of his discovery of ultraviolet light. It was announced the year before in a halfpage letter addressed to Gilbert's Annalen and printed in the Annalen. With that discovery, it became clear that visible light represents no more than a fraction of a continous spectrum.A year earlier, in 1800, William Herschel discovered infrared light. This was the first time that a form of light beyond visible light had been detected. After hearing about Herschel's discovery of an invisible form of light beyond the red portion of the spectrum, Ritter decided to conduct experiments to determine if invisible light existed beyond the violet end of the spectrum as well. He had heard that blue light caused a greater reaction in silver chloride than red light did. Ritter decided to measure the rate at which silver chloride reacted to the different colors of light. He directed sunlight through a glass prism to create a spectrum. He then placed silver chloride in each color of the spectrum and found that it showed little change in the red part of the spectrum, but darkened toward the violet end of the spectrum. Johann Ritter then decided to place silver chloride in the area just beyond the violet end of the spectrum, in a region where no sunlight was visible. To his amazement, this region showed the most intense reaction of all. This showed for the first time that an invisible form of light existed beyond the violet end of the visible spectrum. This new type of light, which Ritter called Chemical Rays, later became known as ultraviolet light or ultraviolet radiation (the word ultra means beyond). ‎

‎licht van de natuur. Het landschap in tekening en aquarel door Van Dyck en tijdgenoten.‎

‎, Antwerpen Open, Trustees British Museum, 1999, Softcover, geillustreerde kartonomslag, oblong formaat, frontispice, 192pp., uitvoerige illustratie in kleur en z/w. ISBN 9058460118.‎

‎I. Tekeningen van of toegeschreven aan Van Dyck II. Tekeningen van andere kunstenaars. Boek is in prima staat.‎

‎Lumiere Naturelle - Dessins et aquarelles de paysage de Van Dyck et ses contemporains‎

‎, Antwerpen Open, Trustees British Museum, 1999, Geillustreerde kartonomslag, ob long formaat, frontispice, 192pp., uitvoerige illustratie in kleur en z/w. TEXT IN FRENCH ISBN 9058460118.‎

‎I. Tekeningen van of toegeschreven aan Van Dyck II. Tekeningen van andere kunstenaars. Boek is in prima staat.‎

‎Artemisia Gentileschi in a Changing Light.‎

‎, Brepols - Harvey Miller, 2017 Hardcover IV+247 pages , 22 b/w ill. + 195 colour ill., 220 x 280 mm, Languages: English, Italian. ISBN 9781909400894.‎

‎Raised to the status of an international luminary by her contemporaries and now revered as one of the defining talents of the seventeenth century, Artemisia Gentileschi poses urgent questions for today?s scholars. The recent outpouring of new attributions and archival discoveries has profoundly enriched our knowledge of the artist, but it has also complicated, and sometimes contradicted, the former storyline. If she was illiterate and unschooled, how did she befriend Galileo and court playwright Jacopo Cicognini? If she could not pay her bills, why did she continue to spend lavishly? How can we define her authorship if we admit workshop productions to her oeuvre? In these essays, an international cast of scholars and experts grapples with these problems, opening new paths of inquiry and laying bare their methodologies in fields as diverse as laboratory analysis, archival research, cultural history, literary analysis, and feminist art history. Among these approaches, connoisseurship takes center stage. By reconstructing the chronology and rationale of Artemisia?s artistic iter, connoisseurship reveals the richness of her visual dialogues, including those with prominent contemporaries such as Caravaggio, Annibale Carracci, Vouet, Cristofano Allori, and Stanzione; with past artistic giants like Donatello and Michelangelo; and with the various hands who passed through her workshop as collaborators and assistants. These essays infuse our understanding of Artemisia with complexity and nuance, yet they also trace her characteristic mix of intelligence and verve in her art, her correspondence, and her deft social maneuvering, running like a thread through all stages of her life. Sheila Barker, Ph.D. (Columbia University, 2002) is the founding director of the Jane Fortune Resarch Program on Women Artists, based at Medici Archive Project in Florence. Her previous publications include "Artiste nel chiostro" (Nerbini, 2016) and "Women Artists in Early Modern Italy: Careers, Fame, and Collectors" (Harvey Miller / Brepols, 2016). Table of Contents Acknowledgments Introduction Sheila Barker Identifying Artemisia: The Archive and the Eye Mary D. Garrard Mary Magdalene in Ecstasy and the Madonna of the Svezzamento: Two Masterpieces by Artemisia Gianni Papi Deciphering Artemisia: Three New Narratives and How They Expand our Understanding Judith W. Mann Unknown Paintings by Artemisia in Naples, and New Points Regarding Her Daily Life and Bottega* Riccardo Lattuada Artemisia Gentileschi?s Susanna and the Elders (1610) in the Context of Counter-Reformation Rome Patricia Simons Artemisia?s Money: A Woman Artist?s Financial Strategies in Seventeenth-Century Florence Sheila Barker Artemisia Gentileschi: The Literary Formation of an Unlearned Artist Jesse Locker Women Artists in Casa Barberini: Plautilla Bricci, Maddalena Corvini, Artemisia Gentileschi, Anna Maria Vaiani, and Virginia da Vezzo Consuelo Lollobrigida ?Il Pennello Virile?: Elisabetta Sirani and Artemisia Gentileschi as Masculinized Painters? Adelina Modesti Allegories of Inclination and Imitation at the Casa Buonarroti Laura Camille Agoston Mary Magdalene in Ecstasy by Artemisia Gentileschi. A Technical Study Christina Currie, Livia Depuydt, Valentine Henderiks, Steven Saverwyns, and Ina Vanden Berghe‎

‎Mmoires physico-chymiques, Sur l'influence de la lumire solaire pour modifier les tres des trois rgnes de la Nature, & sur-tout ceux du rgne vgtal...‎

‎Genve, Barthlemi Chirol, 1782. 3 volumes: xvi, 408; viii, 411 [i blank]; viii, 412 pp. 8vo (13,5 x 21,5 cm.). Later marbled paper-covered boards; paper manuscript lables on spines (faded). With 2 folded engraved plates.‎

‎First edition, and a copy with ample margins. Senebier became librarian for the Rupublic of Geneva. His French translations introduced Spallazani's works to the French public. His researches on photosynthesis (1779) established his reputation as a physiologist and experimental scientist. An ex-library copy (Hill Library, St. Paul, MN.) with the usual flaws, e.g. library stamps, shelf marking, title-page of vol I is reinserted, some scattered light foxing and a few leaves have light waterstains. A former owner's inscription at the paste-downs. A good and complete working copy of this quite rare item, friendly priced accordingly.‎

‎Chandeliers, lampes et appliques de style.‎

‎OFFICE DU LIVRE - SOCIETE FRANCAISE DU LIVRE 1963 Exemplaire d’archive, reliure à la Bradel , pleine toile écru.‎

‎ Très bon état d’occasion ‎

‎LAMPES ET BOUGEOIRS , ART NOUVEAU ART DECO‎

‎PARIS FLAMMARION 1987 Un volume in-4 de 280 pages , dans sa reliure éditeur pleine toile noire et bien complet de sa jaquette en couleurs , importante iconographie en noir et blanc et en couleurs , très bon exemplaire . Très bon Couverture rigide ‎

‎Lampes et Bougeoirs Art Nouveau et Art Déco.‎

‎Paris, Flammarion, 1987, 1 volume, in-4, relié, 280 p.. Très nombreuses illustrations noir et couleur, classement par pays par ordre alphabétique des créateurs, documentation pour la France p. 189 à 237, documentation pour les Etats-Unis p; 238 à 276, bibliographie et index en fin de volume. Reliure éditeur, pleine toile noire sous jaquette illustrée couleur, deux petits défauts au dos de la jaquette dont coiffe inférieure.‎

‎ Très bel exemplaire. ************* Remise 20 % pour toute commande supérieure à 100 €, envoi gratuit en courrier suivi et assurance à partir de 30 € d'achat (France seulement).‎

‎19de eeuwse wetenschappelijke en didactische instrumenten in bezit van de stad Antwerpen.19th CENTURY SCIENTIFIC INSTRUMENTS;‎

‎, Antwerpen, EBES, 1988., Paperback, 152 pp. rijkelijk geillustreerd, 208 afbeeldingen.‎

‎elektriciteitsleer en rontgenologie, /Electricity and X-rays.text in nederlands and English.‎

‎Lampes Berger. 1898-1998‎

‎Noème 1998 In-4 reliure éd. sous jaquette 32,2 cm sur 24,3. 206 pages. Jaquette en bon état. Bon état d’occasion.‎

‎Édition en français. Livre soigneusement recouvert. Bon état d’occasion ‎

‎Ueber die Elektricitätsmenge, welche bei galvanischen Strömen durch den Querschnitt der Kette fliest.‎

‎Leipzig, Johann Ambrosius Barth, 1867. Contemp. hcalf, raised bands, gilt spine with gilt lettering. A few scratches to binding. In ""Annalen der Physik und Chemie. Hrsg.von Poggendorff"", Bd. 99. (Entire volume offered). (2),X,652 pp. and 4 folded engraved plates. Weber & Kohlrausch's paper:pp. 10-25.‎

‎First appearance of this importent paper, the results of which Maxwell later used as a crucial support for his electromagnetical theory of light.""...The velocity of light c were measured by W. Weber and R. Kohlrausch in 1855 (the paper offered). They used an electrometer to determine the charge of a condnsor in electrostatic units, and a ballistic galvanometer to measure the same charge in electrodynamic units. The resulting value for c was in good agreement with that obtained by Fizeau in 1849, and Maxwell accordingly felt entitled to identify light and electromagnetic vibrations. This conclusion recalls Newton's identification of gravity with universal attraction: it was not only because they obeyed the same formal law, but also because both led to the same mathematical results, that Newton saw fit to combine them.""(Taton, Réne in ""History of Sciencein The Nineteenth Century"", p. 163).‎

‎Chandeliers lampes et appliqués de style.‎

‎ Office du Livre, Fribourg, 1963. 17 x 23,5 cm reliure pleine toile beige éditeur. 427 pages. 115 figures, 276 planches en noir et blanc et 8 sur papier contrecollé en couleurs. (Les Manuels du Collectionneur). ‎

‎Petites tâches sur une page. Photos de tous nos ouvrages sur demande‎

‎Ueber die Theorie des Lichts. Frei übersetzt vom Professor Lüdicke. (+) Nachricht von einigen Fällen einer bisher noch nicht beschriebenen Entstehung der Farben. (+) Beschreibung einer Vorrichtung, um mittelst des Sonnen-Mikroskops die Farben dünner F...‎

‎Leipzig, Johann Ambrosius Barth, 1811. Without wrappers. In: ""Annalen der Physik. Hrsg. Ludwig Wilhelm Gilbert"", Bd. 39 (der Reihe), Eilftes u. Zwölftes Stück. Titlepage to vol. 39. Pp. 129-244 a. 2 engraved plates. (The entire issue offered). Young's papers: pp. 156-205 a. pp. 206-220. And pp. 245-360 a. 2 engraved plates. (The entire issue offered). Young's papers: pp. 255-261 a. pp. 262-290.‎

5 Images

‎First appearance in German of Youngs 3 groundbreaking papers ( On the Theory of Light and Colours 1802 - An account of some Cases of the Production of Colours not hitherto described 1802 - The Bakerian Lecture. Experiments and Calculations relative to physical Optics. 1804) - which gives the first really convincing evidence that the fringes are produced by interference of light waves, and giving the experimental demonstrations of the general law of Interference.These importent demonstrations served as the experimental basis for the wave hypothesis of light. - In his two first papers ""On the Theory of Light and Colours"", 1802 and ""An account of Some Cases of the Production of Colours not hitherto described"", 1802 - he only partially announced his principle of Interference, and the statement of it in ""An Account..."" was entirely hypothetical and not experimental. (Magie. Source Book in Physics gives extracts of this paper and a later paper under the head: Discovery of the interference of light, pp.308-15).Young also shows here that diffraction effects can be explained by the interference law.""The experimental basis for the wave hypothesis of light as Young formulated it was interference. The fact has already been observed that two trauins of water waves may be so superposed that in certain regions the throughs of one train will lie continuously on the crests of another, thereby producing zero disturbance...Destryctive interference is said to occur between the two trains of waves in the former case and constructivee interference in lthe latter. Similarly, two sound waves may be so combined as to produce alternate regions of silence and enhanced sound. The phenomenon of interference, of which the forgoing are familiar examples, is easely comprehensible in the case of combining waves, but would be utterly incomprehensible in the case of combining streams of particles. So when Young demonstrated that two beams of light could, under properly controlled conditions be made to combine in such a way as to produce alternate regions of darkness and light, he was rightly considered to have identified in light a characteristic property of waves."" (Lloyd Taylor in: Physics. The Pioneer Science. p. 511).Of the three papers published in the years 1802-04 the last is the most importent as it gives the experimental demonstrations of the interference of light. (Dibner in Heralds of Science No. 151 list the first paper, so does PMM: 259).‎

‎Projets d'éclairage. Brochure N° 4. Deuxième édition‎

‎Paris, Société Pour le Perfectionnement de l'éclairage 1939 In-8 21 x 13,5 cm. Agrafé, couverture havane, premier imprimé en sépia et illustré d’une vignette, 91 pp., 18 figures dans le texte, 6 tableaux.‎

‎ Bon état d’occasion ‎