Boulanger v a (5 risultati)
Editore: Paris (F) - Tours (F), les guides bleus-hachette (79 boulevard saint-germain)-Librairie Hachette - Imprimerie-Reliure Maison Mame, Paris (F) - Tours (F) 1974
- Rilegato
Da: Studio bibliografico De Carlo, Carmagnola, TO, ItaliaStudio bibliografico De Carlo
Contatta il venditoreVenditore con 4 stelleCondizione: Usato - Buono
EUR 20,00
EUR 30,00 spedizioneSpedito da Italia a U.S.A.Quantità: 1 disponibili
Condizione: Good. Collection "Les Guides Bleus". Testo in francese. XVI/ 544/ rilegatura in simil pelle blu con grafica in blu scuro e titoli in bianco. Con due segnalibri in raso blu. Con carte in b/n/rosso. Primo foglio di guardia con carta in b/n/rosso (Tableau d'assemblage des cartes-itinéraires) ed ultimo foglio di guardia…con informazioni editoriali in nero su fondo rosato. Stato buono (pagine brunite, in particolare ai margini - nel primo foglio di guardia appunti a matita cancellati). Plan du guide: Préface - Cartes et plans - Introduction à la Turquie (Géographie de la Turquie, par Robert Mantran - Aperçu économique, par Claude Rivière - Regards sur l'histoire, par Robert Boulanger - Les Arts en Turquie, par Albert Gabriel - La Langue turque, par Nail Mutlugil - Indications bibliographiques et cartographiques) - Votre voyage (Quand? - Quelques formalités - Le voyage par avion - Le voyage par bateau - Le voyage par le train - Le voyage en voiture - Le voyage organisé - La Turquie touristique - Les transpoorts en Turquie - La Turquie en voiture - Votre séjour - Votre vie quotidienne en Turquie - Cartes-itinéraires - Guide alphabétique. Book.
Editore: Paris (F), Chez les Éditeurs (Rue de Beaune, 6, près Le Pont-Royal (Ancien Hôtel de Nesle)) - Imprimerie de J Claye (Rue Saint Benoit, 7) 1862
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Da: Studio bibliografico De Carlo, Carmagnola, TO, ItaliaStudio bibliografico De Carlo
Contatta il venditoreVenditore con 4 stelleCondizione: Usato
EUR 60,00
EUR 30,00 spedizioneSpedito da Italia a U.S.A.Quantità: 1 disponibili
I ed. della raccolta (23e Année, 1862). Testo in francese. VIII/ 576 con i tagli spruzzati in blu/ rilegatura in mezza pelle nera con titoli e ornati in oro al dorso e con i piatti rifiniti in carta marmorizzata nei toni del n/grigio/b. Con incisioni in nero nel testo e f.t. e 12 tavole f.t. protette con carta velina). Stato buo…no (leggera usura della copertina ai margini - fogli di guardia molto bruniti - pagine leggermente brunite e con qualche fioritura - completo di tutte le tavole). Table des matières: Une Nuit terrible, par Alphonse Brot - L'Article 75, par Georges Fath - L'Ile des Cygnes, par Étienne Énault - Le Vieux Poëte, par Arthur Ponroy - Les Émigrants, par Élie Berthet - Martha, par Paulin Niboyet - Le Trait-d'Union, par Moléri.
Da: LAM (Livres Anciens Et Modernes), MONTPELLIER, , FranciaLAM (Livres Anciens Et Modernes)
Contatta il venditoreVenditore con 1 stelleCondizione: Usato
EUR 35,00
EUR 13,50 spedizioneSpedito da Francia a U.S.A.Quantità: 1 disponibili
P., Didot jeune, 1820. In 4° dérelié de 16 pp. Thèse de médecine présentée et soutenue à la faculté de médecine de Paris pour obtenir le grade de Docteur en médecine.
Editore: Galerie Brigitte Schehadé 1983
Da: Maison Vallon Librairie, L'isle sur la sorgue, FranciaMaison Vallon Librairie
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Molto buono
EUR 10,00
EUR 65,00 spedizioneSpedito da Francia a U.S.A.Quantità: 1 disponibili
Condizione: Very Good. Très bon état. in8. 1983. broché. 96 pages. « Création : nouvelle série » est une publication dirigée par Pierre Albert-Birot artiste pluridisciplinaire et figure des avant-gardes du XXe siècle. L'ouvrage s'inscrit dans sa démarche d'expérimentation poétique et théâtrale poursuivant l'esprit de sa revue «…Création » lancée en 1917 pour renouveler les formes artistiques. Very Good.
Altre immaginiLes Arts au Moyen Age : en ce qui concerne principalement le Palais romain de Paris, l'Hôtel de Cluny, issu de ses ruines, et les objets d'art de la collection classée dans cet hôtel.First edition of the plate volumes. Complete in 6 volumes.
Du Sommerard, Alexandre, (1779-1842); Du Sommerard, E. (Edmond), (1817-1885), EDITORS; Guichard; Ed. Robert; Fragonard père; Jacquand; C.L. Maufras; Victor Petit; V. de Sansonetti; H. Petit; Louis Boulanger; Lesaint, ARTISTS; J. Engelmann; Lemercier; A. Godard; Coulon & Cie, C. Motte; Edmond de Sommerand; Aubert, LITHOGRAPHERS; Matthew Chaloner Durfee Borden = M. C. D. Borden ( 1842- 1912), PROVENANCE
Editore: Paris: Hôtel de Cluny,1838-46 1838
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Da: Wittenborn Art Books, San Francisco, CA, U.S.A.Wittenborn Art Books
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Buono
EUR 9789,76
EUR 8,64 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
Condizione: Good. Folio. 35 x 53.25cm. sheet size with pages attached to hinges for an effective width of 38cm. 6 plate volumes uniformly bound in full green morocco with elaborate gilt border designs; gilt inner dentelles, marbled endpapers, all edges gilt. .VERY HEAVY VOLUMES.10 plate albums bound in 5, plus the plate atlas al…bum. With 508 lithographed plates (400 in the albums, frontispiece portrait & 107 in the atlas), many printed in color or hand-colored, others black & white or sepia; color lithographed title pages for the atlas and the albums, except for the title page of the tenth part, which is not present and perhaps never published. Plain paper interleaves to the plates. Some of the plates are chromolithographs but most of the colored plates are richly handcolored and gommés. Sixty artists worked on the lithographs.References: Brunet II, 920."ouvrage splendide et d'un grand intérêt"; OCLC Number / Unique Identifier: 1110334971.Dunbarton Oaks:Like his family before him, Alexandre Du Sommerard (1779-1842) had a career in public service, first in the military, then in the civil service, then in the court itself. Passion for his native country of France was even more manifest in his art collecting and studies, which is where he directed most of his energies.The first items he acquired were paintings by contemporary French painters, but, after 1825, he devoted himself to art from the Middle Ages to the seventeenth century, with particular attention to arts with French connections. In his actions and his collector's tastes, Sommerard was likely influenced by Alexandre Lenoir (1761-1839), who rescued medieval treasures and monuments from destruction during the French Revolution and who later set up the Musée des Monuments Français.By 1832, Sommerard had accumulated such a large collection that he purchased the late fifteenth-century Hôtel des Abbés de Cluny to house it. In each room of the building, he arranged furniture, objects, and textiles according to their function or symbolic value in an attempt to replicate the interior spaces of the past.In 1838, Alexandre Du Sommerard published the first volumes of a multivolume work, Les Arts du moyen-âge, which he intended as a history of French medieval art. His collection and study included early Christian and Byzantine art as the precursors to western medieval art. He felt that history should not rely solely on written sources and that historians and the public needed to comprehend the history of art as well.The illustrated atlas and album were issued serially, 10 installments in all and each with a beautiful, unique title page. Inside each installment were large illustrations of medieval buildings and objects. In the Avertissement, Sommerard brags that the publication used lithography, the most advanced technique in book illustration available at the time, in order to create accurate reproductions. At this point, chromolithography was still in development, and most lithographic illustrations were black-and-white, so it seems likely that the rich colors in Sommerard's publication were added manually.Upon his death in 1842, his collection and the building were bequeathed to the state. In 1844, Lenoir's son, Alexandre-Albert Lenoir (1801-1891), oversaw the movement of his father's collection to Roman baths that are immediately adjacent to the Hôtel de Cluny. The combined collections became the Musée de Cluny (now the Musée National du Moyen Âge). Edmond du Sommerard (d. 1855) was appointed the museum's first curator and was responsible for the acquisition of the museum's famous lady-and-unicorn tapestries. Since then, some items have been deaccessioned and moved to other museums, but the existing museum still reflects the ideas and tastes of Sommerard and Lenoir.Alexandre Du Sommerard a mobilisé près de soixante artistes pour créer les cinq cents planches d'illustrations lithographiques des Arts au Moyen Âge.Dès ses débuts, Alexandre a montré un intérêt marqué pour cette technique, l'ayant déja? utilisée pour Les Vues de Provins. Cet intérêt s'explique par la facilité d'exécution offerte par la lithographie, qui n'exige pas des artistes l'apprentissage d'une technique de gravure particulière. Cette simplification d'exécution permet non seulement de réduire le temps nécessaire a? la réalisation d'une estampe, mais aussi d'acquérir rapidement une renommée grâce a? la diffusion quasi immédiate de ces images. Cette avancée technologique explique pourquoi la lithographie est devenue rapidement une alternative intéressante, tant sur le plan financier que commercial, par rapport à d'autres procédés.PROVENANCE; Bookplate of M.C.D. Borden in each volume. Matthew Chaloner Durfee Borden was born on July 18, 1842 in Fall River, Mass., the son of Col. Richard and Abby W. (Durfee) Bordon. He was educated at Phillips Academy in Andover, and graduated from Yale University in 1864. At Yale he was a member of Delta Kappa Epsilon and Skull and Bones. Later that year he entered one of New York's leading dry goods house as a stock boy. In 1865, he married his relative, Harriet M. Durfee, and they had seven children.Borden came to New York after graduation, working as a clerk in a dry goods jobbing house. Three years later he became a partner in a commission firm and represented the American Print Cloth Works of Fall River. This concern failed in 1879, but Mr. Borden reorganized it in 1880 as the American Printing Company. In 1869, Borden decided to manufacture his own cotton rather than buying it from others to supply his printing mills. He built three mills to begin with, and ultimately the Falls River Iron Works Mills was a thriving business. He was a compassionate man regarding his employees, raising wages in times of depression, and his mills were not struck by the labor unions when his relatives' mills were.Borden also kept a home in New York City at 25 West 56th Street, where he had many financial interests, being a director of the Manhattan Company Bank, the Lincoln N.
