‎Blick und Klick - Allemand 3e année LV2 Éd. 2017 - Cahier Manuel de l'élève: LernBuch A2 B1‎

‎HATIER 2017 144 pages 19x27 6x1cm. 2017. Broché. 144 pages.‎

5 Images

‎Bon état‎

‎Partition de la chanson : Armorial Armorial ( Allied Officers Night Club ) Le Cabaret des Champs-Elysées ‎

‎Partitions sur Paris Paname S.E.M.I 1945‎

‎ Bon état Petit format ‎

‎ETUDE CRITIQUE de la politique commerciale de l'Angleterre à l'égard de ses colonies.‎

‎Toulouse Rivière 1904. In-8 broché XII 490pp. Manque sur la page de faux-titre, dos légèrement bruni. Exemplaire solide et bien complet. Des origines des colonies jusqu'à 1902.‎

7 Images

‎Chante matin cahier d'exercices‎

‎EDL 1975 48 pages 15 2x0 6x21 6cm. 1975. Broché. 48 pages.‎

‎Bon état‎

‎La femme‎

‎FLAMMARION 2016 192 pages 20 32x28 19x2 54cm. 2016. Relié. 192 pages.‎

‎sur les chemins d un savoir lire maitre: introduction à la lecture d'un choix de premiers textes "Lire à loisir"‎

‎EDL 1976 13 5x20 8x1 3cm. 1976. Broché.‎

‎Très bon état‎

‎A TALE OF TRANSFORMATIONS‎

‎BURNS ET OATES LTD. NON DATE. In-12. Broché. Etat d'usage, Couv. convenable, Dos abîmé, Quelques rousseurs. 94 pages. Texte en anglais. Une écriture au stylo sur la première de couverture.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎14 ème édition Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Le Service Du Restaurant, Des étages, Du salon de Thé, Du bar.‎

‎ Flammarion Livre broché au format 14x22cm, couverture orange et rouge glacée de l'éditeur, 247 pages, nombreux dessins explicatifs, croquis, photographies en noir, ensemble complet et très sérieux. Très agréable état d'usage. ‎

‎ Bon Etat Franco de port France jusqu'à 29 euros iclus. MONDIAL RELAY pour : FRANCE, Portugal, Pologne, Espagne, Allemagne, Autriche, Pays Bas, Luxembourg, Italie, Belgique. Toutes les étapes sont accompagnées. Achat, estimations et listages France / Suisse (sur rdv). ‎

‎VUE D'OPTIQUE :" A VIEW OF THE GRAND PALACE OF WESTMINSTER"- 1790 -(titre inscrit, en caractères inversés)‎

‎ Paris CHEREAU 1790 une vue d'optique en couleurs, GRAVÉE A L'EAU-FORTE ET AQUARELLÉE SUR PAPIER DE FORMAT: 33,4 x 43,7 cm. (1790) à Paris chez CHEREAU Editeur ‎

‎Les vues doptiques sont un type particulier destampes populaires publiées en Europe au XVIIIe siècle. Ces estampes étaient une forme de divertissement destinée à être vue à travers des appareils appelés « machines optiques », « optiques », « zograscopes ». Ces estampes étaient exposées par des forains ambulants dans les rues de toute lEurope et étaient également collectionnées par les professionnels et les classes supérieures qui possédaient des machines optiques chez eux. Il y avait une grande curiosité pour lapparence des villes européennes non visitées et des lieux exotiques aux confins du globe, et ces estampes étaient lun des seuls moyens pour le grand public davoir un aperçu du monde. Les machines optiques utilisées pour ces gravures étaient équipées d'une lentille qui améliorait pour les spectateurs le grossissement et la perception de la profondeur tridimensionnelle des scènes représentées. Un miroir était souvent utilisé pour que les gravures en perspective puissent être vues à plat, et dans ces cas, les images étaient vues à l'envers. Il n'est donc pas rare que les scènes représentées soient dessinées à l'envers, et il y a souvent aussi un titre imprimé à l'envers en haut, permettant aux spectateurs de le lire rapidement. Il y avait généralement un texte supplémentaire au bas des gravures, souvent en plusieurs langues, qui pouvait être lu par l'opérateur de l'optique au bénéfice de son public ........... rare gravure ........... en bon état (good condition). en bon état ‎

‎The black watch. Volume 1‎

‎Richard BENTLEY, Londres. 1834. In-12. Relié demi-cuir. Etat d'usage, Couv. convenable, Dos satisfaisant, Rousseurs. 318 pages. Pièce de titre avec titre doré arrachée. Dos orné de palettes dorées. Texte n anglais.. . . . Classification Dewey : 0-GENERALITES‎

‎ Classification Dewey : 0-GENERALITES‎

‎Stockport, official handbook‎

‎J. Burrow & Co.. Non daté. In-8. Broché. Etat passable, Tâchée, Dos satisfaisant, Mouillures. 100 pages. Quelques planches publicitaires en couleurs. Nombreuses photos monochromes dans et hors texte. Texte en anglais.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎ Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎THE CLEVER WOMAN OF THE FAMILY - TOME 2 - COLLECTION OF BRITISH AUTHORS TAUCHNITZ EDITION VOL 769.‎

‎BERNHARD TAUCHNITZ. 1865. In-12. Broché. Etat d'usage, Tâchée, Coiffe en tête abîmée, Quelques rousseurs. 326 pages - quelques rousseurs sans réelle conséquence sur la lecture - coiffes légèrement abîmées - tâches brunes sur les plats - ouvrage en anglais .. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Ouvrage en anglais - COLLECTION OF BRITISH AUTHORS TAUCHNITZ EDITION VOL 769 - Copyright edition. Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Charette: L'homme et sa légende (French Edition).‎

‎Association départemental de diffusion culturelle, 1996 27 x 21cm., 85 pp, Broché ‎

‎ - - VENTE PAR CORRESPONDANCE UNIQUEMENT - LIEN DE PAIEMENT, NOUS CONSULTER.‎

‎Guide Béziers Méditerranée 2022-2023 Petit Futé‎

‎PETIT FUTE 2022 143 pages 12x1x20cm. 2022. Broché. 143 pages.‎

‎Très bon état‎

‎Guide Ethiopie 2020-2021 Petit Futé‎

‎PETIT FUTE 2019 384 pages 12x20x2cm. 2019. Broché. 384 pages.‎

‎Très bon état‎

‎Texte et discours en moyen francais, Actes du XIe Colloque international sur le moyen francais‎

‎, Brepols - Harvey Miller, 2007 Hardcover. 202 p., 160 x 240 mm, Languages: French, Including an index. Fine copy. ISBN 9782503522807.‎

‎In light of the revival of diachronic linguistics and the burgeoning attention for Middle French, the present volume brings together several papers on Middle French text linguistics. Which linguistic elements contribute to text structuring in this period ? What guarantees textual cohesion and topic continuity? The contributions in this volume set out to explore these domains, describing the use of a range of connectors, modality markers and punctuation devices, analysing the mechanisms underlying the functioning of anaphoric expressions and of topicalising and focalising constructions.‎

‎Prints of Paul Sandby (1731-1809): A Catalogue Raisonne The Prints of Paul Sandby‎

‎, Harvey Miller, 2015 Bound, cloth with dustjacket, IV+339 p., 84 b/w ill. + 444 colour ill., 300 x 240 mm. . ISBN 9781909400160.‎

‎Born in Nottingham, Paul Sandby (1731-1809) is best known as a founder member of the Royal Academy and a prominent figure in the development of British watercolour painting. However, he was also one of the most prolific and inventive printmakers in eighteenth-century Britain. From his early years as a draughtsman for the military survey of Scotland, and later from his extensive tours throughout England and Wales, he depicted the people, towns, castles and landscapes of the nation. He provided the public with images of their country which contributed to the emerging appreciation of native landscape, to antiquarian interests, and to the development of picturesque tours within the British Isles. Although he never travelled abroad, he reproduced the work of fellow artists who had, tapping into the Grand Tour market with prints of Ionian antiquities, Neapolitan landscapes and the Roman carnival. But his work encompassed more than landscape; he could move from the pastoral humour of illustrations to Allan Ramsay?s poem The Gentle Shepherd, through the urban realism of his Cries of London to the merciless satire of his attacks on William Hogarth. From the 1740s to the 1780s he made over 380 prints: engravings, etchings, soft ground etchings and finally aquatints, a medium in which he was a pioneer. Aquatint enabled printmakers to reproduce the effects of watercolour paintings; Sandby gave the process its name and developed varied techniques which allowed the exact reproduction of the artist?s brush strokes, producing some of the most beautiful prints ever made in this medium.‎

‎Nouvelles Recherches sur la Chaleur spécifique des Corps solides et liquides.‎

‎Paris, Crochard, 1834. No wrappers. In: ""Annales de Chimie et de Physique, Par MM. Gay-Lussac et Arago."", tome 57, Cahier Oct. Pp. 113-224 a. 1 folded engraved plate. (The entire issue offered with halftitle to tome 57). Avogadro's paper: pp. 113-148. Browning to halftitle. Smoe scattered brownspots.‎

‎First printing of this paper in which Avogadro analyzed the connection between specific heats and atomic weights of chemical compounds and liquids after Dulong and Petit has announced their discovery of a relationship between heats and atomic weights of substances (the Law of Petit & Dulong). Avogadro tries to expands their law onto compounds as well.‎

‎sainte victoire 2015: Dans l'intimité d'un grand site de France‎

‎PETIT FUTE 2015 64 pages 11 8x0 6x18cm. 2015. Broché. 64 pages.‎

‎Bon état - . quelques marques de lecture et/ou de stodckage sur couverture et coins mais du reste en bon état - envoi rapide et soigné dans enveloppe à bulles depuis france‎

‎B 17 MAGAZINE - N° 16 - 1er février 1992‎

‎Revue de 16 pages, format 290 x 425 mm, illustrée, bon état‎

‎Le bimensuel des collectionneurs de militaria. Au sommaire : Technique militaire : les engins de tranchée ; Le P 47 de Tende ; Les régiments britanniques : The Buffs ; L'Infanterie soviétique ; Les insignes de l'Armée de Terre, etc.‎

‎Jan van Kessel I (1626-1679): Crafting a Natural History of Art in Early Modern Antwerp ‎

‎, Brepols - Harvey Miller, 2016 Hardcover with dusjacket, VI+208 pages., 50 b/w ill. + 52 colour ill., 220 x 280 mm, Languages: English, FINE! ISBN 9781909400238.‎

‎The curious art of Jan van Kessel provides an intriguing lens through which to explore the intersections between craft practices, collecting, and the pursuit of natural knowledge in early modern Antwerp. The Antwerp artist Jan van Kessel the Elder (1626-1679) was esteemed throughout Europe for producing finely-wrought, miniature paintings on copper that depict a wide range of flora and fauna, exotic landscapes, and objects of natural artistry (e.g. shells, coral, precious stones). The ?natural? world presented in Van Kessel?s art was not a transparent window onto nature, however, but instead was ambitiously crafted through the artist's reappropriation of Antwerp's artistic traditions, material culture, and artisanal knowledge practices. Through a combination of wit, technical virtuosity, self-referentiality, and allusions to local art-historical lineage, Van Kessel?s paintings encourage viewers to simultaneously think about art, in terms of collecting, connoisseurship, citation, and media, and think anew about nature. This study uses Van Kessel?s art as a distinctive lens through which to examine the relationship between craft, curiosity, and the pursuit of natural knowledge in the early modern period. Each chapter situates Van Kessel within a particular context where art and natural history intersected in late seventeenth-century Antwerp. Taken together, these investigations reveal how his production responded to a unique convergence of circumstances in that city which included the growth of a popular, commercial strand of natural history, a thriving culture of art collecting and connoisseurship focused on local artists, and a burgeoning luxury industry. Van Kessel?s material and conceptual interventions into the representation of nature, such as his innovative, painted ?cabinets without drawers? and witty signatures formed from insects and snakes, enabled him to redefine the scope of natural historical illustration and negotiate the value and status of the small-format cabinet picture. Nadia Baadj is a Post-Doctoral Researcher at the Institute for Art History at the Universitat Bern. Her research focuses on intersections between art and science as well as artists' materials and techniques in the early modern period, with a particular focus on Northern Europe. She has published in The Art Bulletin, Nederlands Kunsthistorisch Jaarboek, and the Boletin del Museo del Prado. She has also contributed to exhibitions of Dutch and Flemish art at the Rijksmuseum, Frans Hals Museum, Clark Art Institute, and Ringling Museum of Art.‎

‎Note sur la machine suédoise de MM. Schutz (!) pour calculer les Tables mathématiques par la méthode des différences, et en imprimer les résultats sur des planches stéréotypes.‎

‎(Paris, Mallet-Bachelier), 1855. 4to. No wrappers. In: ""Comptes Rendus Hebdomadaires des Séances de L'Academie des Sciences"", Tome 41, No 15. Pp. (537-) 563. (Entire issue offered). Babbage's paper: pp. 557-560. Some faint, mostly marginal brownspots.‎

‎First printing of this importent paper being babbage's report on the Scheutz differnce calculator, explaining its functions by way of his own notations.""Babbage's report on the differnce engine built by the Swedish printer Georg Scheuts (1785-1873) and his son Edvard (1821-81), based on Babbage's own designs.... In 1854 the Scheutzes took their engine no. 2 to England in the hopes of marketing it. There they were introduced to Babbage, who received them with great friendliness and showed a lively interest in their work. Babbage devoted two whole days to investigating Scheutz' engine for which he had much praise, especially for the way they had succeeded in building it with the funds at their disposals.... As part of his effort to promote the Scheutz Engine, Babbage gave a talk on it before the Academie des Sciences, illustrated with drawings by his son henry, in which Babbage's system of mechanical notation was used to describe the machines construction and functions. This talk was published (the paper offered) without illustrations in the Academie 'Comptes rendus'. ((Hook & Norman ""Origins of Cyberspace"", No. 73).‎

‎On a Method of expressing by signs the action of machinery. Read March 16, 1826.‎

‎(London, W.Nicol, 1826). 4to. No wrappers as extracted from ""Philosophical Transactions"" 1826 - Part III. Pp. 250-265 and 4 engraved plates. Some faint dampstains to plates. One plate with a small tear, no loss. the same plate some creasing at upper part, verso of plate somewhat soiled. Page 261 with some marginal brownspots and some soiling. The other leaves clean and fine.‎

‎First appearance of a main paper in the history of Computing Science in which Babbage set forth some of the basic principles that guide modern computers.""Babbage's first publication of his system of mechanical notation that enabled him to describe the logic and operation of his machiness on paper as they would be fabricated in metal. Babbage later stated that: ""Without the aid of this language I could not have invented the Analytical Engine"" nor do I belive that any machinery of equal complexity can ever be contrived without the assistance of that or of some other equivalent language. The Difference Engine No.2...is entirely described by its aid."" .Babbage considered his mechanical notation system to be one of his finest inventions, and thought it should be widely implemented. It was a source of frustartion to him, that no other machine designerr adopted it (probably because no ther engineer during Babbage's time attermpted to build machines as logically and mechanically complex as Babbage's. More than one hundred years later, in the 1930s, when development in logic were applied to switching systems in the earliest efforts to devwelop electromechanical calculators. Ckaude Shannon demonstrated that Boolean algebra could be applied to the same types of problems for which Babbage had designed his mechanical notation system.""(Hook & Norman No. 37).Together with Babbage's paper comes a paper by J.F.W. Herschel ""On the parallax of the fixed stars"", pp. 266-280.‎

‎Ludovico Carracci and the Art of Drawing,‎

‎Turnhout, Brepols, 2005 Hardback, 642 p., 609 b/w ill. + + ills., 210 x 280 mm. ISBN 9781872501185.‎

‎The primary goal of Ludovico Carracci and the Art of Drawing is to provide a ground-breaking model for a new kind of book on Italian drawings. In addition to covering the traditional scholarly terrain of chronology, style, and connoisseurship, this book utilizes up-to-date art historical methods, including considerations of the historical context of Bologna, its impact on Ludovico's art, and a new portrayal of the role of women and women artists in the city. "Bologna is perhaps the last great artistic capital in Europe that...still offers the specialist the possibility for ground breaking studies." This quotation from a recent exhibition at the Metropolitan Museum testifies to the rich possibilities for research in this field. In 1983, Sydney Freedberg wrote a book on the three pivotal innovators in Italian painting at the turn of the seventeenth century: Caravaggio, Annibale Carracci, and the latter's cousin Ludovico Carracci (1555-1619). The dramatic intensity of Ludovico's paintings exerted a seminal influence on the direction of Italian Baroque painting. His highly individual renditions of his subjects make him one of the great interpreters of Italian art. Working in Bologna, the second city of the papal states, during the period of the Counter Reformation, Ludovico was well positioned to reshape religious painting during a period that demanded change. Ludovico was a prolific draftsman who produced over 300 extant drawings. His drawings offer the key to his artistic personality, because he conceived his original subjects and planned his dramatic compositions in these sheets. Like most Italian artists of the early modern period, Ludovico developed his ideas in drawings and began painting only after his conceptions had been finalized. Thus his drawings reveal how he thought, how his ideas changed, and which features of a composition were most important or challenging to his creative imagination. Such drawings as these have tremendous appeal to modern audiences, who are attracted by the excitement of watching the creative process in progress, rather than seeing only the painting that represents the end of that process. The Carracci have always been considered some of the most important draftsmen in Italian art, for their revival of drawing the human figure from life in the course of designing paintings. But Ludovico's drawings were not only preparatory studies for pictures. He was also an innovator in developing finished compositional drawings that were produced as works of art in their own right, made for sale to a new audience of private collectors in Bologna. This book will be indispensable for university libraries, museum libraries, and the private libraries of all scholars, dealers, and collectors with a serious interest in Italian art. As a study of a major artist that breaks new methodological ground, the book will bring together fresh insights on the artist and his culture with a useful compendium of illustrations and will provide a model for future studies of draftsmen from the early modern period. Languages: English.‎

‎Medée - Corneille - numéro 78: Tragédie 1635 texte intégral‎

‎NATHAN 2018 176 pages 14 8x14 8x1cm. 2018. Broché. 176 pages.‎

‎Etat correct‎