‎África‎

‎Gardi, René‎

‎Blaue Schleier, rote Zelte‎

‎Im Wunderland der südlichen Sahara. Zürich, Büchergilde Gutenberg (Lizenz: Orell Füssli), 1958. Mit 1 Karte von Otto M. Müller u. zahlreichen fotografischen Tafelabbildungen vom Verfasser u. von Franz Moser. 230 S., 1 Bl. I llustrierter Or.-Lwd.; Kanten leicht berieben. [5 Warenabbildungen]‎

‎Berichte von mehreren Reisen kreuz und quer durch die Sahara. - Vorsatz mit kl. Besitzvermerk.‎

Referencia librero : 210554

‎Gardi, René‎

‎Der schwarze Hephastus. (Ein Bilderbuch über die Schmiede der Makatam in den Mandara-Bergen Nordkameruns in ihre urtümliche Kunst, Eisen zu gewinnen).‎

‎Bern, Selbstverlag, (1954). 4°. 22 S., [167] Bl. mit 136 Tafeln. OLn. mit goldgepr. Rücken- u. Deckeltitel u. Karsicht-Schutzumschlag.‎

‎Auer 352. Heidtmann 16980. Schweizer Photobücher 200. - Erste Ausgabe. - Von R. Gardi auf dem Vorsatz signiert. - "Die Bilder dieses Buches hat der Verfasser auf einer Reise aufgenommen, die er in Begleitung des Basler Ethnographen Dr. Paul Hinderling im Jahre 1953 unternommen hat. Die vier technischen Aufnahmen der Schneidewerkzeuge, Eisenbarren, Ackergeräte und Wurfeisen stammen von Jakaob Lauri. Das Manuskript wurde vom Metallurgen Dr. Walter Gerber auf seine wissenschaftliche Genauigkeit geprüft." - Rücken wie immer etwas aufgehellt, sehr gutes Exemplar. - Dazu: Ders. Kirdi. Unter den heidnischen Stämmen in den Bergen und Sümpfen Nordkameruns. Zürich, Büchergilde Gutenberg 1957. 4°. [14] Bl., 128 Tafeln, 1 gefalt. Bl. mit 1 Karte. OKart. mit illustr. OU. - Heidtmann 16989. Schweizer Photobücher 196 u. 200. - Erste deutsche Ausgabe. - Erschien zuerst 1957 in Französisch in Lausanne. - Kanten etwas berieben, sehr gutes Exemplar. - Zusammen 2 Bände.‎

Referencia librero : 103698BB

‎Gardi, René‎

‎Der schwarze Hephästus.‎

‎Bern, René Gardi, 1954. 4°. 22 S. Text, 65 ganzseitige s/w. Fotografien mit Legenden. Originalleinwand.‎

‎"Ein Bilderbuch über die Schmiede der Matakam in den Mandara-Bergen Nordkameruns und ihre urtümliche Kunst, Eisen zu gewinnen." - Einband, v.a. Hinterdeckel, etwas beschabt.‎

Referencia librero : 12812AB

‎Gardi, René‎

‎Kiligei. Heitere und ernste Erlebnisse in Afrika.‎

‎Aarau:, Sauerländer, 1964. 8°. 176 S., 1 Karte. Leinen (Schutzumschlag berieben; gut erhalten)‎

Referencia librero : 6465AB

‎Gardi, René‎

‎Kirdi. Unter den heidnischen Stämmen in den Bergen und Sümpfen Nordkameruns.‎

‎Zürich, Büchergilde Gutenberg, 1957. Linzenzausgabe. 128 Abb. (Kupfertiefdruck), 1 Kartenskizze, o.Pag.(ca.23 Text-S.) 4°, OBr. m. SchU.‎

‎Gut erhalten.‎

Referencia librero : 10181

‎GARDI, René‎

‎Mandara. Monti e popoli sconosciuti del Camerun‎

‎In 8°, pp. 281. Con 60 fotografie in b/n, una cartina e 23 disegni. Leg. rigida editoriale con sovracoperta figurata a colori. Copia in buono stato.‎

‎Gardi, René‎

‎Sahara. Monographie einer grossen Wüste.‎

‎Bern:, Kümmerly & Frey, 1967. 4°. 163 S., zahlreiche Farbabbildungen, 2 Karten, Kunstledereinband (Schutzumschlag mit leichten Randläsuren; Autograph; gut erhalten)‎

Referencia librero : 62587BB

‎Gardi, René‎

‎Tenere. Die Wüste, in der man Fische fing. Zwischen Sahara und Sahel. Bericht über 3 Reisen in den Osten der Republik Niger.‎

‎Bern:, Benteli, 1978. 8°. 288 S., zahlreiche zum Teil farbige Abbildungen, Pappband (Schutzumschlag mit leichten Randläsuren und leicht berieben; sonst gut erhalten)‎

Referencia librero : 72056BB

‎Gardi, René‎

‎Unter afrikanischen Handwerkern : Begegnungen und Erlebnisse in Westafrika. ERSTAUSGABE.‎

‎Bern: René Gardi, 1969. 243 Seiten, mit zahlreichen, meist farbigen Abbildungen ; 31 cm Originalpappband‎

‎Einband mit leichten Gebrauchsspuren. Private Widmung auf der Vortitelseite. Sonst sehr gutes Exemplar der ERSTAUSGABE.‎

Referencia librero : 260443

‎Gardi, René‎

‎Unter afrikanischen Handwerkern. Begegnungen und Erlebnisse in Westafrika. text und Fotografien von Rene Gardi, Fotografien von Objekten aus dem Historischen Museum Bern von Robert Burri.‎

‎Selbstverlag, Bern 1969 (Druck bei Büchler, Wabern). 253 S. mit 192 (50 farbigen) Taf. u. Abb., 1 Karte, beiliegt 1 Bl. Bildverzeichnis. 4°. Kunstleder mit Schutzumschlag. Geringe Gebrsp. Umschlag etwas gebräunt u. mit kleinen Einrissen, Folie teils etwas gelöst. - Mit eigenhändiger Signatur von Rene Gardi.‎

‎Eisenkocher, Silberschmiede, Gelbgiesser, Goldschmiede, Glasmacher, Töpfer, Maskenschnitzer, Kalebassen, Lederbearbeitung, Sattelmacher, Pergament-Schmuckdosen, Stein-Armringe, Spinnen, Weben, Färben, Stoffapplikationen, Stoffmalerei. Sehr schöner Band.‎

Referencia librero : 14435

‎Gardi, René/Surbek, Victor‎

‎Schwarzes Arkadien.‎

‎Zürich:, Orell Füssli, 1962. quer-Kl.-8°. 32 S., zahlreiche Illustrationen, Pappband (leicht gebräunt; sonst gut erhalten)‎

Referencia librero : 49160BB

‎Gardner, Brian‎

‎German East: The Story of the First World War in East Africa‎

‎London: Cassell. Good in Good dust jacket. 1963. First Edition. Hardcover. "Examines a campaign which was almost as great a fiasco as much of the grim activity on the Western Front of WWI. The Allied conquest of German East Africa proved a desperate and outlandish struggle. The story abounds in disastrous misunderstandings and stupid underestimations alongside fine feats of heroism and endurance in the face of physical suffering disease lack of water and impenetrable country; tales of old-world courtesy of an inland naval battle of incredible marches ludicrous situations and abject misery. Shows how the war in 'German East' was one of the most fascinating and unusual campaigns of the century. An uncle of the author died of blackwater fever while campaigning in German East and other of his relatives also died in this disease-ridden 'side-show' of the First World War." - dust jacket. x 213 pages. Bibliography index maps black and white photographic plates. Moderate wear to clean and unmarked book in original red cloth. Binding tight. Average wear and spine sunning to dust jacket which is now preserved in glossy new archival-grade Brodart. A sound copy.; 8vo . Cassell hardcover‎

Referencia librero : 223h1696

‎Garine . Harrison‎

‎Coping with Uncertainty in Food Supply‎

‎Oxford: Oxford 1988. Gebunden. Oxford unknown‎

Referencia librero : 87472 ISBN : 0198576439 9780198576433

‎Garlake, Peter‎

‎Afrika und seine Königreiche. Aus d. Engl. v. Harry Zeise.‎

‎Lektüre Verlag, 1975. 128 S.; zahlr. farb. Illustr.; 28 cm; fadengeh. Orig.-Pappband m. illustr. OUmschl.‎

‎Gutes Ex.; Einband u. Umschl. etwas berieben. - ... Der vorliegende Band beschäftigt sich mit der Vergangenheit Afrikas südlich der Sahara. Er vermittelt einen Überblick über das, was die Wissenschaft bis zum Augenblick über die ersten Ackerbauer und Töpfer um 6000 v. Chr., über das Eisenzeitalter, das von 500 v. bis 1000 n. unserer Zeitrechnung währte, und über die Gründung stabilerer Königreiche um 1500 herausgefunden hat. Die Themen der vier Bildberichte lauten: Meroe und Aksum, Traditionen der afrikanischen Architektur, Die Ruinen von Simbabwe, Skulpturen aus Ife und Benin. (Verlagstext) / INHALT : AFRIKA UND SEINE KÖNIGREICHE --- Einleitung --- Zeittafel --- AFRIKA - DAS WESEN EINES KONTINENTS --- Die Landschaften Afrikas Klima und Bodennutzung-Bodenschätze --- Verkehrswege und Transportmittel Seuchen --- Landesstruktur und Bevölkerung --- Rassische Eigenheiten --- Sprachuntersuchungen --- Die Archäologie --- Das Königtum --- Wirtschaftliche Faktoren --- Bildbericht: Meroe und Aksum. --- DIE ERFORSCHUNG AFRIKAS --- Die arabischen Geographen --- Europa und Afrika --- Die Anfänge der Vorgeschichte --- Die Erforschung Groß-Simbabwes. Benin --- Bildbericht: Traditionen der afrikanischen Architektur --- DÖRFER UND BAUERN --- Die letzten Jäger und Sammler --- Landwirtschaftliche Systeme --- Die fruchtbare Sahara --- Fischerdörfer --- Der Beginn der Viehhaltung Die ersten Feldbauern --- Die ostafrikanischen Rinderhirten Die frühe Eisenzeit --- Die Ausbreitung der Eisenverarbeitung. --- Das archäologische Beweismaterial --- Sprachliche Untersuchungen --- BERGWERKE UND HÖFE DES SÜDENS --- Das Ende der frühen Eisenzeit Die späte Eisenzeit --- (u.v.a.m.)‎

Referencia librero : 1180042

‎GARLANDA Ugo -‎

‎Presente e avvenire dell'Africa Equatoriale Francese.‎

‎Milano, 1954, stralcio con copertina posticcia muta, pp. 421/440 con fotografie, tavole fotografiche e 2 cartine. - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo di rivista, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perchè ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “estratto” or “stralcio” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.‎

‎GARNIER Christine (Do?ll?)‎

‎Va-t'en avec les tiens ! Roman.‎

‎Broch?. 308 pages. Couverture d?fra?chie. Rousseurs.‎

‎Garrard, Timothy F. (Mitwirkender) und Pierre-Alain (Mitwirkender) Ferrazzini‎

‎African gold : jewellery and ornaments from Ghana, Côte d'Ivoire, Mali and Senegal in the Collection of the Gold of Africa Barbier-Mueller Museum in Cape Town. Timothy F. Garrard. Photogr. by Pierre-Alain Ferrazzini. [Ed. direction: Stefanie Penck and Anita Dahlinger]‎

‎Munich ; London ; New York, NY : Prestel 2011. 247 S. : zahlr. Ill., Kt. 24*18,5 cm. OHalbleinenband.‎

‎Einband leicht berieben, sonst guter Zustand mit lediglich leichten Gebrauchsspuren. L17-1 ISBN 9783791341194‎

Referencia librero : 140968

‎GARRONE Vittorio -‎

‎Sugli Achémé-Melgà, nota etnografica.‎

‎Roma, 1904, estratto pp. 994/1017 (Fasc. n° 11 della Soc. Geogr. Italiana). - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo, completo in se, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perché ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “extract” or “excerpt” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.‎

‎Garstin, W‎

‎Report on the Basin of the Upper Nile‎

‎Cairo: National Printing Department 1904. First. Orig. Printed Boards. VG spine torn. with proposals for the improvement of that river. to which is added a report upon Lake Tsana and the Rivers of the Eastern Soudan by Mr. Dupuis. 196 pp. Profuse ill. folding maps and folding plans folding ill. plus large section of appendices. National Printing Department unknown‎

Referencia librero : 165

‎Gasser, Peter:‎

‎Hoher Atlas - Land der Berber. Bilder aus Marokko.‎

‎Bern, Lüscher, Leber & Cie. AG. 1989. 31,5x30,5 cm. 87 S. Mit einer Karte und 37 ganzseitigen s/w. Fotografien. Originalleinwand mit Schutzumschlag.‎

‎Für die Kunden und Freunde des Hauses Lüscher, Leber + Cie Ag herausgegeben. - Mit handschriftlicher Widmung und Signatur des Gestalters Eugen Götz-Gee auf dem Vorsatz.‎

Referencia librero : 31230AB

‎GASCOU (Jacques)‎

‎La politique municipale de l'Empire romain en Afrique proconsulaire de Trajan à Septime-Sévère.‎

‎Rome, EFR, 1972. In-8 broché, 258 pp., 6 cartes dans le texte, bibliogr., index. Envoi autographe de l'auteur.‎

‎Jaquette manquante, bonne condition. - Frais de port : -France 5,7 € -U.E. 8 € -Monde (z B : 12 €) (z C : 22 €)‎

Referencia librero : 593468

‎Gasper Ana, Casanovas Antonio, Couteau Jean,‎

‎Lempad IMPRESSIONS OF LEMPAD MONOGRAPH‎

‎, Picton Publishing, 2014 hardcover with dusjacket Format : 265 x 340 MM, number of pages 334, with nice photographs in color: English text fine condition !! ISBN 9789073187825.‎

‎The deeper you go in understanding his art works, the more the passion becomes febrile. What a complete artist he was, everything he touched ,architecture, sculpture, drawings, reliefs, had that magic or divine inspiration called Taksu among the Balinese which gave all his work a very special dimension. The geniality of the artist is reflected in his drawings in very particular features: the purity of line, the distribution of the space, the expression of the characters or the living plants and trees which seem to vibrate with real life. Everything spans with life and magic and the observer is immediately captured by the talent and spirit behind. Whatever he made, he caught the soul of the theme, weather an action, a creature , a cloud , the mud in the rice fields or even an inanimate object such as the ?sarongs?, the traditional Balinese garment which he makes them look almost palpable ,reflecting the animist principle that everything ?has a soul or ethos?.When one observes the family shrine sculpture portraying the different generations (Il. n ?.) with his self portrait in the right bottom corner , one perceives the love he put into it , the piece shines in front of our eyes !It is full of beauty and positive energy transmitting accurately the way he felt about his family. This work could stand next to the Mona Lisa and they would be smiling in harmony. Or the young soul mask he created while watching his grand daughter which is in itself the description of beauty and youth but also the representation of the fine half Yin of the Balinese microcosm .This mask can be considered one of the most touching works by the Master. Likewise the perfect rhythm found in the dancers in the ?Dance Lesson? where harmony, movement and teaching skill are fully achieved at the same time that technical perfection thus making out of it an outstanding masterpiece. He was obviously creating in a state of trance or meditation where he became the channel for the cosmic or spiritual energy. This ability, only found in great artists allowed him to take whatever material and transform it in to a great work of art .His free spirit guided him in the adventure of creating new models for the future Balinese generations. His intention full of generosity was to satisfy the gods as well as to teach his family, friends and colleagues.Lempad ,the person, was a simple man who always wore just a ?sarong ? and ate light as holly people do. His eyes, the mirror of the soul, would spark with intelligence and wisdom until the very last day of his long life. He had a strong character but was a balanced person with firmly rooted spiritual principles who would advise his grandchildren not to move when an earthquake was under way since he believed in fate and considered that when God wanted to take one s life, he just did. Likewise his father, he was born and brought up to be an Undagi , a figure who in the Balinese culture is some how ?sacred ?and assumed as such by all the community but which does not imply to have a privileged status since the spiritual world is constantly intermingled with the daily routines . There is no vanity or ego , of course no commercial intention since the act of creating is strictly related to the spiritual world following Animist ,Hinduist and Buddhist principles. And yet, Lempad was an unusual Undagi who always kept his own personal style ,more free and universal, very modern from the conceptual and the formal point of view which he applied in many of his works except for those commanded to him for certain specific temple needs. One only has to look at the family shrines in his first house in Bedulu and the second one in Ubud to discern that pure simple line associated with Majapahait style which he combines with a surprisingly modern and original touch shown on the way volumes are combined.(See Family Shrine in Bedulu)This is also clearly shown in the Temple Gate at Pura Merajan in Pengalasan which unfinished abstraction of the classical Bhoma head reminds us of the style of the catalan architect/sculptor Gaudi, who also combined abstract figures within the architecture as in La Pedrera building in Barcelona. Gaudi could somehow be considered the equivalent of an Undagi in the western world ;the last work commissioned to him by the Estate and one of hs most important works if not the most, was actually the Christian Temple of ?La Sagrada Familia?. The Wilmana figures that surround the Gods meeting Hall in the Temple of Pura Pengastulan is another good example of Lempad s originality.He plays with the double reading concept so they become masks when they are turned upside down , as Indonesian primitive sculptors used to do. The same rule applies to the Pan and Men Brayut sculptures that flank the entrance of the Palace Sareng Kandin Delodan which are depicted with very atypical austronesian facial features. Lempad left many of his works incomplete but unlike Balinese in general who tend to leave architectural creations unfinished since for them newness is equivalent to sacredness and sometimes it take ages until they have the means to do it , Lempad ?s tendency was wholly intentional since he seem to enjoy the aesthetical look of the unfinished.Equally important if not more, was the didactic function involved since it was a subtle way to teach the art of carving to future generations (See masks, Brayut sculpture, architectural elements pgs?. )and,overall, his principles would never allow him to continue his work when the inspiration was no longer present.If we believe our informants,another possible reason in the back of Lempad s mind was that the incomplete pieces could not be requested by the palace since ,?they remained to be finished ?.Lempad s first drawings were probably sketches for atchitectural elements in temples (see ilus S39A.) and did not start to draw on proper drawing paper until he was in his middle age. The first sketch books seems to have been given to him by the German Russian artist Walter Spies who was very impressed when seeing some of his sketches.At the beginning of his drawing period, the scenes were inspired on the Ramayana and Mahabarata Hindu ?Javanese fables , classic in a sense, which slowly evolved in a more free style drawings reflecting daily life , a feature seldom seen in Balinese art with exceptional cases such as the Yeh Pulu ancient reliefs in Bedulu which he saw during his childhood and would later on become a source of inspiration. The clean line flowing with firm and precise rhythm that applies in both drawings and sculptures is one of the main characteristics that distinguishes his work.This multi talented artist had an important role in the artistic scene that took place in Ubud in the 1930s and connected with the foreign circle of artists such as Walter Spies, Rudolf Bonnet or Miguel Covarubias who saw in Lempad a sort of universality and openness that was to create the Lempad legend. Everyone went to him for exchange of information and saw in him the medium or bridge from traditional to Modern Balinese Art. Most probably, Lempad, who was very humble person in essence never thought in the idea of having a book dedicated to him since in those days and in contrast to the western world, personal success was not an objective in Balinese culture but was left aside in benefit of the community .Nevetheless ,it has been a privilege for us who love and promote art in the world, to work on the first book ever dedicated to I Gusti Nyoman Lempad , a timeless master with balinese soul but universal mind whose work ,we consider, deserves to be known as part of the World Artistic Heritage .‎

Referencia librero : 47401

‎GASBARRI Carlo -‎

‎Assab: novembre 1869.‎

‎Firenze, 1969, 8vo stralcio con copertina posticcia muta, pp. 1139/1151 con 2 cartine, 2 fac-simile e 10 illustrazioni. - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo, completo in se, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perché ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “extract” or “excerpt” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.‎

‎Gasbarri L., Giordano G.M.‎

‎SENEGAL (Repubblica del Senegal).‎

‎(Codice VF/0359) In 8° (24 cm) 159 pp. Quaderno d'informazione, 2 carte. Brossura editoriale, ottimo stato. ~~~ SPEDIZIONE IN ITALIA SEMPRE TRACCIATA‎

‎Gascou, Jacques‎

‎LA POLITIQUE MUNICIPALE DE L'EMPIRE ROMAIN EN AFRIQUE PRÉCONSULAIRE DE TRAJAN À SEPTIME-SÉVÈRE‎

‎Light bump to base of spine. Very light edgewear. DJ is browned to spine and edges. DJ has light foxing. Front panel of DJ is a little wavy (moisture exposure? ). ; Collection De L'Ecole Française De Rome 8; 258 pages‎