Bruxelles Office Colonial 1938 In8 16 pages - photographies noirs et blanc - broché - bon etat general
Bon
RUE DES ECOLES EDITIONS 2016 128 pages 21x25x1 2cm. 2016. Broché. 128 pages.
Très bon état - légères marques de lecture et/ou de stockage mais du reste en très bon état- expédié soigneusement depuis la France
EDITIONS PRISMA 2019 96 pages 21x25 8x1 8cm. 2019. Broché. 96 pages.
Très bon état
EDITIONS PRISMA 2019 96 pages 21x25 8x1 8cm. 2019. Broché. 96 pages.
Etat correct
EDITIONS PRISMA 2019 96 pages 21x25 8x1 8cm. 2019. Broché. 96 pages.
Très bon état - légères marques de lecture et/ou de stockage mais du reste en très bon état- expédié soigneusement depuis la France
EDITIONS PRISMA 2019 96 pages 21x25 8x1 8cm. 2019. Broché. 96 pages.
Très bon état - légères marques de lecture et/ou de stockage mais du reste en très bon état- expédié soigneusement depuis la France
FR, norma editeur., 2005 relie sous jacquette,23 x 30.5 cm , 256 pages, 874 illustrations noir et blanc et couleur. ISBN 9782909283920.
Surnomme le sculpteur du bijou , Raymond Templier, fils et petit-fils de joailliers parisiens, (1891-1968) est un des grands createurs de la periode Art deco. Present dans toutes les expositions majeures, des sa sortie de l?Ecole nationale des arts decoratifs en 1912 et jusqu?en 1960, membre fondateur de l?Union des artistes modernes en 1929, il participe d?une avant-garde qui va bouleverser l?histoire des arts decoratifs. Ses formes epurees, ses lignes geometriques, l?utilisation de matieres inedites, comme l?argent laque de noir, typiques du nouveau style Art deco seduisent immediatement la critique et une clientele parisienne avertie et cultivee. Amateur de sport, Templier dessine egalement des trophees pour des competitions de ski, de boxe, de golf et des affiches pour la Federation nationale de tennis dont celles de Roland-Garros. Cette premiere monographie consacree a Raymond Templier reproduit pres de 600 ?uvres, broches, bracelets, bagues, pendants, colliers, boites et etuis, qui figurent aujourd?hui dans les plus grands musees du monde.
LGDJ 2009 336 pages 15 1x23 9x4 5cm. 2009. Broché. 336 pages.
Bon état
Alire 2022 288 pages 13 2x21x1cm. 2022. Broché. 288 pages.
comme neuf
Paris, Michèle Broutta, 1972. In-8 carré, broché or. Album. Courts textes de Jean Rostand, Louis Pauwels, Montherlant. Nbses illustrations pleine page en couleurs et noir. Bon état général.
Paris, Michèle Broutta, 1972. In-8 carré, broché or. Album. Courts textes de Jean Rostand, Louis Pauwels, Montherlant. Nbses illustrations pleine page en couleurs et noir. Très bon état
Fayard 2007 462 pages 23 6x3 2x14 8cm. 2007. Broché. 462 pages.
très bon état tache sur la tranche inérieure (voir photo) sinon comme neuf
Collectif Castillo Baltasar Guerrero Mateo Martinez Paco David François
Reference : 500078396
(2018)
ISBN : 9782378150389
TALENT SPORT 2018 175 pages 22 2x29 2x1 6cm. 2018. Broché. 175 pages.
Très bon état - légères marques de lecture et/ou de stockage mais du reste en très bon état- expédié soigneusement depuis la France
Collectif Delmas-Marty Mireille WILL Pierre-Etienne
Reference : 100107660
(2007)
ISBN : 2213631484
Fayard 2007 828 pages 15x4 6x23 4cm. 2007. Broché. 828 pages.
Comme neuf
Collectif Delmas-Marty Mireille WILL Pierre-Etienne
Reference : 100107661
(2007)
ISBN : 2213631484
Fayard 2007 828 pages 15x4 6x23 4cm. 2007. Broché. 828 pages.
Très bon état tache sur la tranche latérale (voir photo) sinon comme neuf
Collectif Delmas-Marty Mireille WILL Pierre-Etienne
Reference : 100108771
(2007)
ISBN : 2213631484
Fayard 2007 828 pages 15x4 6x23 4cm. 2007. Broché. 828 pages.
Comme neuf
1928 un magazine, broché (agraphé) grand in-quarto (22,5 x 30 cm), couverture et intérieur orné de dessins, lithos cubistes par Lozowick et Hugo Gellert (illustrations: cubistic cityscapes by Lozowick and Hugo Gellert) et photographies en noir, légères rousseurs sur la première de couverture (lightly redness marks on the cover), 24 pages, June 1928 New York New Masses Editor,
(Recognizing the need for a magazine that would continue the nonsectarian legacy of the Liberator, the former editors of the Liberator and the Masses founded New Masses in 1926. Like its predecessors, this monthly publication was aimed at liberals sympathetic to the plight of workers.(21) From May 1926 to June 1928, New Masses (May 1926-January 12, 1948) attempted to combine its desire to create an artistic renaissance in America with its sympathy for workers, a union that was reflected in an editorial board that was nearly divided between former editors of the Liberator and the Masses and writers committed to the revival of American letters. In the "prospectus" of the proposed magazine, which was initially to be titled "Dynamo," the organizers set forth its many objectives: The publication will represent no special school of literature or art, and will welcome the expressions of all schools. . . . It will regularly interpret the activities of workers, farmers, strikers, etc., but in such a way as to bring out the general human and cultural significance of particular movements. For it believes that a deeply human interpretation of any event is better than propaganda. . . . It must strike its roots strongly into American reality. It must not be afraid of slang, moving picture |sic~, radio, vaudeville, strikes, machinery or any other raw American facts. Its job will be to assimilate these facts of life into art and satire. It must maintain the highest standard of art and literature of which its editors are capable, but it must also be sympathetic to any crudeness which is the expression of something young, vital and as yet groping and undeveloped. . . . At least half of the pages will consist of pictures. These will be cartoons of our current political and social events, drawings of American life and also, though not ever predominantly, pictures that have no "journalistic" value but are based on the emotion of art.(22) Gold, one of the six original editors, denied that "I, or anyone else, demands of young American writers that they take their 'spiritual' commands from Moscow" and stated that it was "not a magazine of Communism or Moscow, but a magazine of American experiment." He characterized New Masses as "the bridge" to the discovery of "the world of revolutionary labor."(23) Initially, the illustrations were selected by the entire executive board, although Gellert, an ardent supporter of Russia, and John Sloan, a liberal sympathetic to workers, served as art editors.(24) During the first two years, pictorial images in New Masses reflected its diverse goals. The magazine's proletarian orientation was set forth in Gellert's design for the cover of its first issue of May 1926; it showed the head of a miner printed in black, white, and red. Images of dishwashers, linemen, miners, construction workers, and pneumatic-drill workers--the last two quintessential images of American workers--appeared frequently in drawings by David Burliuk, Gan Kolski, Lozowick, Jan Matulka, Morris Pass, Ribak, Robinson, and William Siegel. These images depicted workers actively engaged with machines, as in J. Pleush's cover design for the October 1927 issue. Social criticism was generally confined to satirical captions accompanying drawings and cartoons, such as the caption to Gropper's drawing of a group of socialite women hearing a report of their charitable works: "Ladies, it gives me great pleasure to announce that we have saved 5,000 starving children in the past year. And we hope there will be more next year" (July 1926: 14). Similarly, I|sidore~ Klein titled a drawing of an assembly line in a boiler factory Ballet Mecanique and added the caption, "This Antheil is a genius. Since introducing his theory of orchestration into the boiler factory, our profits have almost doubled" (May 1927: 24). Abstract and semiabstract compositions appeared regularly on the covers or as illustrations: cubistic cityscapes by Lozowick ..RARE last Number But The Most cubistic...) Revue d'art CUBISTE associant le travail ...En bon état malgré le petit défaut signalé (very good condition in spite of the small defect indicated).
Terres ardennaises 1996 96 pages 24x31x1cm. 1996. Broché. 96 pages.
Très bon état
Collectif Lamchichi Abderrahim Martin Munoz Gema
Reference : 100111151
(2000)
ISBN : 2738479979
L'harmattan 2000 192 pages 16 2x1 6x23 8cm. 2000. Broché. 192 pages.
couverture un peu ternie intérieur propre
[COLLECTIF] / LEVINE (Daniel) sous la direction de.
Reference : 20112
ISBN : 2-87692-200-2
[s.l, Metz], Editions Serpenoise, [d.l. 1994] 1 volume 23,8 x 30cm Cartonnage éditeur sous jaquette illustrée couleurs. 132p., 2 feuillets; cartes et nombreuses illustrations in texte, vignettes et pleines pages, la plupart en couleurs. Très bon état.
Catalogue de l'exposition présentée en 1994 à l'Arsenal de Metz par le Conseil général de la Moselle sur le travail, l'utilisation et la mythologie de l'or, symbole divin, des civilisations précolombiennes du Pérou, de l'Equateur et de la Colombie; sous la direction de Daniel LEVINE, du département Amérique du Musée de l'Homme; cartes, nombreuses photos couleurs, croquis techniques en noir; bibliographie. Exemplaire bien complet de sa jaquette.
Liège, Editions BIBLIO, s.d. [1982]. In-8°, 31 pp., nombr. fig. Plaquette agrafée, très bon état général. Document RARE !
Collectif Poignant Bernard Alexandre Pierre Théry Jean-François
Reference : 100109771
(2010)
ISBN : 2843464765
Coop breizh 2010 21 8x1 4x23 2cm. 2010. Broché.
Paris, Editions alsatia , 1946; in-8, 176 pp., br. Page non coupé.
Page non coupé.
Eyrolles 2012 118 pages 13 6x1x21cm. 2012. Broché. 118 pages.
, Brussel, Arcade, 1961.**, Gebonden, linnen, vergulde bandstempel, rug versierd met vergulde titel, zonder omslagwikkel, 27x30,5cm, 323pp, geillustreerd in kleur en z/w.
Woord vooraf en inleiding door Germaine Faider-Feytmans. I. De kunst van het Maasland en het bisdom Luik. De historische grondslagen. II. De edelsmeedkunst. III. Andere vormgevingen.