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[REVUE]. LES LETTRES NOUVELLES. « Lettres, Arts, Spectacles, Essais, Mythologies ».
LES LETTRES NOUVELLES. N° 57 (1ère série). Février 1958.
Henri Calet, Claude Simon, Edmond Jabès, Kostas Axelos, Roland Barthes, etc. Bon état.
Referentie van de boekhandelaar : 12588
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[REVUE]. LES LETTRES NOUVELLES. « Lettres, Arts, Spectacles, Essais, Mythologies ».
LES LETTRES NOUVELLES. N° 22 (3e série). Février 1962.
Claude Simon, Claude Couffon, García Lorca, Kateb Yacine, etc. Bon état.
Referentie van de boekhandelaar : 12609
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[REVUE]. LES LETTRES NOUVELLES. « Lettres, Arts, Spectacles, Essais, Mythologies ».
LES LETTRES NOUVELLES. (3e série). Juin-juillet-août 1964.
Samuel Beckett (« Comédie »), Claude Simon, Jean Dubuffet, Georges Limbour (« Histoire de Jean Dubuffet »), Boris Rybak (« Max Ernst »), etc. Bon état.
Referentie van de boekhandelaar : 12611
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[REVUE]. MASSES. « Socialisme et Liberté ».
MASSES. N° 2. 15 mars 1946.
Jacques Prévert (« Poèmes & Chansons »), Simon Rubak (« La Synarchie, complot permanent contre la démocratie »), Juan Andrade (« Les caractéristiques sociales du mouvement phalangiste espagnol »), André Ariat, André Prunier, Jean Jacques, etc. Bon état.
Referentie van de boekhandelaar : 12628
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[REVUE]. MASSES. « Socialisme et Liberté ».
MASSES. N° 3. Juin 1946.
Jacques Prévert (« Poèmes-chansons »), Rosa Luxembourg (« Dictature et démocratie »), Victor Serge (« Renouvellement de la pensée socialiste »), André Ariat (« Le régime soviétique est-il socialiste ? »), Simon Rubak, William White (« La condition humaine en U.R.S.S. ») Couverture illustrée par George Grosz. Bon état.
Referentie van de boekhandelaar : 12629
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[REVUE]. MASSES. « Socialisme et Liberté ».
MASSES. N° 4-5. Novembre 1946.
Marceau Pivert (« La démocratie au congrès socialiste »), Victor Serge (« Conscience de lécrivain »), Aimé Patri (« La célèbre controverse Jaurès-Lafargue »), Louis Martin (« Le mythe de la spontanéité chez Rosa Luxembourg »), André Gélo, Simon Rubak, etc. Bon état.
Referentie van de boekhandelaar : 12630
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[REVUE]. MASSES. « Socialisme et Liberté ».
MASSES. N° 9-10. Juin-juillet 1947.
Michel Collinet (« La Fédération démocratique européenne »), Victor Serge (« LU.R.S.S. a-t-elle un régime socialiste ? »), Simon Rubak, Etienne Bernier, Lucien Martin, etc. Bon état.
Referentie van de boekhandelaar : 12632
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[REVUE]. MASSES. « Socialisme et Liberté ».
MASSES. N° 12. Décembre 1947.
« Adieu à Victor Serge », par René Lefeuvre et Magdeleine Paz. Victor Serge (« Modigliani est mort »), Lucien Martin (« Lâme néo-stalinienne »), Simon Rubak, Edmond Humeau, etc. Critique de lUnivers concentrationnaire, de David Rousset, par André Santon, etc. Bon état.
Referentie van de boekhandelaar : 12634
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[REVUE]. MASSES. « Socialisme et Liberté ».
MASSES. N° 14. Avril-mai 1948.
« Les Plans Marshall et Molotov et lavenir de lEurope ». Julien Coffinet, Simon Rubak, Lucien Martin, Aimé Patri, Valentin Toma, Michel Collinet, Maurice Dommanget, etc. Bon état.
Referentie van de boekhandelaar : 12636
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[REVUE]. MEDIUM (Nouvelle série). " Communication surréaliste ". Directeur : Jean Schuster.
MEDIUM. N° 1. Novembre 1953.
In-4° broché. Couverture illustrée par Simon Hantaï. Textes d'André Breton, Benjamin Péret, Jean-Louis Bédouin, Gérard Legrand, François Valorbe
Referentie van de boekhandelaar : 4574
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[REVUE]. MEDIUM. « Communication Surréaliste ».
MEDIUM. Collection complète, du n° 1 (novembre 1953) au n° 4 (janvier 1955).
MEDIUM. Collection complète, du n° 1 (novembre 1953) au n° 4 (janvier 1955). La couverture du n° 1 est illustrée par Simon Hantaï ; celle du n° 2 par Wolfgang Paalen ; celle du n° 3 par Max Walter Svanberg ; celle du n° 4 par Wifredo Lam. Tous les numéros sont en bon état. /// Contributions de Raymond Abellio, René Alleau, André Breton, Eugène Canseliet, Adrien Dax, Marcel Duchamp, Julien Gracq, Gérard Legrand, Jean Markale, Benjamin Péret, André Pieyre de Mandiargues, Hans Prinzhorn, Georges Schéhadé, François Valorbe, etc.
Referentie van de boekhandelaar : 13073
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[REVUE]. NORD-SUD.
NORD-SUD. Collection suivie du n° 1 (mars 1917) au n° 14 (avril 1918).
NORD-SUD. Collection suivie du n° 1 (mars 1917) au n° 14 (avril 1918). Ne manquent donc que les deux derniers numéros (n° 15 et 16) pour le complètement. Les 12 livraisons sont en très bon état. Le n° 13 est bien complet des deux planches hors texte de Georges Braque ; le n° 14 est bien complet des deux planches hors texte de Fernand Léger (ces deux numéros sont les seuls à proposer des illustrations). /// N.B. Le n° 3 est ici dans sa variante optimale, comprenant bien le texte de Pierre Reverdy, " Sur le Cubisme ", suivi de de sa traduction en anglais par Léonce Alexandre-Rosenberg, " On Cubism " (quatre pages, numérotées I à IV, greffées au centre du fascicule). Le " reprint " de Jean-Michel Place reproduit bien ces quatre pages de traduction, manifestement ajoutées postérieurement, mais sans les annoncer au sommaire. Dans le cas de notre exemplaire, cette " augmentation " est mentionnée au sommaire figurant sur la couverture : les exemplaires " ordinaires " annoncent deux textes de Pierre Reverdy (" Matin " et " Une Nuit dans la plaine ") ; notre exemplaire " augmenté " annonce bien " Sur le Cubisme " en plus des deux autres textes. A noter : " Sur le Cubisme " avait déjà paru dans le n° 1 de NORD-SUD, mais sans la traduction de Léonce Rosenberg. /// Une telle collection est aujourd'hui très difficile à réunir.
Referentie van de boekhandelaar : 10080
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[REVUE].
TEL QUEL. N° 1. Printemps 1960.
TEL QUEL. N° 1. Printemps 1960. Francis Ponge, Claude Simon, Jean Cayrol, Jean Lagrolet, Boisrouvray, Philippe Sollers, Virginia Woolf, Jean-René Huguenin, Jacques Coudol, Jean-Edern Hallier, Jean Thibaudeau, Renaud Matignon Très propre.
Referentie van de boekhandelaar : 8965
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[REVUE] Jacques Duclos, Jean Lanellos, Théodore Pangalos, Stratis Soméritis, Pierre Martin, Georges Fischer, Bryan Bunting, Charles Haroche, Madeleine Jacob, Jacques Berque, A. Blanca, J.P. Chevillot, J. Debouzy, P. Delanoue, J. Guilhem, Pierre Juquin, P. Rozenberg, J. Simon, B. Struzek, Lilia V. Karakacheva, Manfred Von Ardenne, Jiri Hajek, Albert-Paul Lentin, Jean Chesneaux, etc.
VIETNAM SOUS LES BOMBES.
DEMOCRATIE NOUVELLE, mai 1967. In-8, broché.
Referentie van de boekhandelaar : 9345
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[RHIN] - SIMON (Rémi) -
Les fleuves ont une histoire… le rhin.
Paris, Larousse, 1988 ; in-12, 94 pp., cartonnage de l'éditeur.
Referentie van de boekhandelaar : 200702247
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[ROMANS POLICIERS] - BRAHMS (Caryl), SIMON (S-j) -
La balle dans le ballet.
Paris, La mauvaise chance le portulan, 1947 ; in-12, 248 pp., br.
Referentie van de boekhandelaar : 201305386
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[Robert MOREL Editeur] - SIMON (Claude).-
La route des Flandres.
Sans lieu, Les Amis du Club du Livre Chrétien [Robert Morel], 1960, in 8° relié pleine toile violette d'après la maquette d'Odette Ducarre, 314 pages.
Referentie van de boekhandelaar : 80048
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[ROMAN] - SIMON (Pierre-henri ) -
Le somnambule.
Paris, Editions du seuil, 1960 ; in-8, 219 pp., cartonnage de l'éditeur.
Referentie van de boekhandelaar : 201807793
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[ROMAN] - SIMON (Pierre henri ) -
Le somnambule.
Paris, Ediitons du seuil, 1960 ; in-8, 219 pp., br.
Referentie van de boekhandelaar : 201315128
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[ROMAN] - LIBERATI (Simon) -
Les démons.
Paris, Stock, 2020 ; in-8, 332 pp., br. Avec jaquette.
Referentie van de boekhandelaar : 202100418
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[ROMAN] - SIMON (Claude) -
Les géorgiques.
Paris, Les editions de minuit , 1981 ; in-8, 477 pp., br. Jauni, edition originale.
Referentie van de boekhandelaar : 201801206
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[ROMAN] - LIBERATI (Simon) -
Nada exist.
Paris, Flammarion, 2007 ; in-8, 419 pp., br.
Referentie van de boekhandelaar : 201509595
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[RÉGIONALISME - NANTES - MOUZILLON - BRÉTIGNOLLES-SUR-MER] SOEUR ADELAÏDE RENOU PENSIONNAT DES URSULINES (RUE SAINT CLEMENT - NANTES) + SOEUR ROSE SIMON SUPÉRIEURE DU PENSIONNAT DES URSULINES (RUE SAINT CLEMENT - NANTES)
MÉMOIRE ACQUITTÉ DE SOEUR ADELAÏDE RENOU DU PENSIONNAT DES URSULINES (RUE SAINT CLÉMENT - NANTES), DATÉE DU 3 MARS 1828, ADRESSÉ A MME BASCHER LENFANT [MARIE EMILIE LENFANT DE LANZIL FILLE D'UNE DEMOISELLE LEMOYNE DE BEAUMARCHAIS ET MARIÉE A PIERRE-PAUL DE BASCHER - LE GRAND PLESSIX - MOUZILLON et CHATEAU DE BEAUMARCHAIS - BRÉTIGNOLLES-SUR-MER] POUR REMBOURSEMENT D'UNE AVANCE SUR DES ACHATS NÉCESSAIRES DE SCOLARITÉ OCCASIONNÉS POUR SES FILLES ÉMILIE ET ADÈLE (MARIE ADELAÏDE) + JOINT AVEC UN REÇU DE PAIEMENT DE LA PENSION DONNÉ A MR BASCHER PAR ROSE SIMON SUPÉRIEURE DU PENSIONNAT DES URSULINES DE NANTES
Nantes 1828 1 document ORIGINAL, manuscrit à l'encre brune de 2 pages, sur papier velin crème ligné filigrané "raisin", format : 24,5 x 19,5 cm, MÉMOIRE ACQUITTÉ DE SOEUR ADELAÏDE RENOU DU PENSIONNAT DES URSULINES (RUE SAINT CLÉMENT - NANTES), DATÉE DU 3 MARS 1828, ADRESSÉ A MME BASCHER LENFANT [MARIE EMILIE LENFANT DE LANZIL FILLE D'UNE DEMOISELLE LEMOYNE DE BEAUMARCHAIS , MARIÉE A PIERRE-PAUL DE BASCHER - LE GRAND PLESSIX - MOUZILLON et CHATEAU DE BEAUMARCHAIS - BRÉTIGNOLLES-SUR-MER]POUR REMBOURSEMENT D'UNE AVANCE SUR DES ACHATS NÉCESSAIRES DE SCOLARITÉ OCCASIONNÉS POUR SES FILLES ÉMILIE ET ADÈLE(MARIE ADELAÏDE) + JOINT AVEC UN RECU DE PAIEMENT DE LA PENSION DONNÉ A MR BACHER PAR ROSE SIMON SUPÉRIEURE DU PENSIONNAT DES URSULINES DE NANTES, (document original) format : 16 x 10 cm, manuscrit à l'encre brune sur papier velin ligné, signé Soeur Rose SIMON supérieure, Nantes, le 4 mars 1828,
Referentie van de boekhandelaar : 26334
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[S.P.P.E.F]
SITES et MONUMENTS
Revue de la Société pour la Protection des Paysages et de l'Esthétique de la France : 90 pages, format 210 x 160 mm, illustrée
Referentie van de boekhandelaar : LFA00d9c
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[SAINTE CLAIRE Gabriel de]
La vie du Venerable Frere Fiacre, Augustin De'Chausse' (déchaussé). Contenant plusieurs traits d'Histoire, & faits remarquables arrivez (arrivés) sous les regnes de Louis XIII & Louis XIV.
A Paris, Chez Jean Jombert, 1722, 1 volume in-12 de 95x165 mm environ, (1) f. blanc, (18) ff. (page de titre, épître, discours préliminaire), 375 pages, (8) ff. (table, errata, privilège), (1) f. blanc. Pleine basane brune, dos à quatre nerfs portant titres dorés sur pièce de titre bordeaux, orné de caissons à motifs dorés, roulette dorée sur les coupes, tranches rouges. Ex-libris sur le premier contreplat. Reliure modeste mais solide (cuir craquelé et frotté, coins et coupes émoussés, coiffe supérieure manquante), fréquentes erreurs de pagination (sans manque), des rousseurs par endroits.
Referentie van de boekhandelaar : 111700
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[SANDMAN] - KIRBY, SIMON -
Le justicier des rêves veille.
Paris, Les humanoïdes associés, 1984 ; in-4, 118 pp., cartonnage de l'éditeur. Eo usure de la couverture.
Referentie van de boekhandelaar : 200820035
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[SAINTE-BEUVE] - SIMON (Gustave).-
Le roman de Sainte-Beuve. Nouvelle édition.
P., Albin Michel, 1926, in 12 broché, VII-323 pages
Referentie van de boekhandelaar : 13092
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[SAINTE-BEUVE] - [VICTOR HUGO] - SIMON (Gustave).-
Le roman de Sainte-Beuve.
P., Ollendorff, 1906, in 8° broché, VII-323 pages ; couverture défraichie ; premier plat détaché.
Referentie van de boekhandelaar : 52281
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[SAUNIER (Noël)] - SIMON (Jules).-
Mémoires des autres. Illustrations de Noël Saunier.
Paris, Testard, 1890, in 12, relié demi percoline (modeste), VII-293 pages
Referentie van de boekhandelaar : 7904
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[SCIENCE ] - SIMON (P-h) -
Questions aux savants.
Paris, Seuil, 1969 ; in-8, 215 pp., br.
Referentie van de boekhandelaar : 201220800
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[SERIE NOIRE ] - TROY (Simon) -
Méfie toi des voyous !
Paris, Serie noire suspense gallimard, 1965 ; in-12, 186 pp., br. N°917.
Referentie van de boekhandelaar : 201300333
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[SERRES (Jean de), GOULART (S.)]
Recueil des choses mémorables avenues en France sous le regne de Henri II, François II, Charles IX, & Henri III de la Maison de Valois depuis l'an MDXLVII jusques au commencement du mois d'Aoust MDLXXXIX. Contenant infinies Merveilles de nostre siecle. Avec deux Indices.
1595 basane, dos à n. in-8, (8ff.), 324ff., (7ff.), s.n., s.l., 1595,
Referentie van de boekhandelaar : 9842
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[SHAKESPEARE]; HAMILTON, W[illia]m (painter); SIMON, Peter (engraver).
As you like it. Act V. Scene IV.
London: John and Josiah Boydell 1791. 1803. Original copper engraving 44 x 60 cm overall sheet 54 x 66 cm. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1791. [1803]. unknown
Referentie van de boekhandelaar : 61445
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[Shakespeare, William] Estok, Simon C
Ecocriticsm and Shakespeare - Reading Ecophobia.
2011. First Edition. New York Palgrave Macmillan 2011. 145 x 215 cm. X 182 pages. Original Hardcover. Very good condition with minor signs of external wear. Literatures Cultures and the Environment. Ecocriticism is the study of literature and the environment from an interdisciplinary point of view where literature scholars analyze texts that illustrate environmental concerns and examine the various ways literature treats the subject of nature. Some ecocritics brainstorm possible solutions for the correction of the contemporary environmental situation though not all ecocritics agree on the purpose methodology or scope of ecocriticism. In the United States ecocriticism is often associated with the Association for the Study of Literature and Environment ASLE1 which hosts biennial meetings for scholars who deal with environmental matters in literature. ASLE publishes a journalInterdisciplinary Studies in Literature and Environment ISLEin which current international scholarship can be found. Ecocriticism is an intentionally broad approach that is known by a number of other designations including "green cultural studies" "ecopoetics" and "environmental literary criticism" and is often informed by other fields such as ecology sustainable design biopolitics environmental history environmentalism and social ecology among others. Wikipedia hardcover
Referentie van de boekhandelaar : 3097BB ISBN : 0230112560 9780230112568
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[SHAKESPEARE]; WESTALL, R, RA (painter); SIMON, IP (engraver). R A I P
First part of King Henry the Fourth. Act III Scene I. The Archdeacon of Bangor's House in Wales.
London: John and Josiah Boydell 1795 1803. Original copper engraving 60 x 44 cm overall sheet 69 x 55 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1795 [1803]. unknown
Referentie van de boekhandelaar : 61417
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[SHAKESPEARE]; KIRK, Tho[ma]s (painter);SIMON, IP (engraver). I P
Measure for Measure Act V. Scene I.
London: John and Josiah Boydell 1790. 1803. Original copper engraving 44 x 60 cm overall sheet 55 x 68.5 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1790. [1803]. unknown
Referentie van de boekhandelaar : 61483
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[SHAKESPEARE]; SMIRKE, R, RA (painter); SIMON, JP (engraver). R A J P
Merchant of Venice. Act II. Scene V. Shylock's House. Shylock Jessica and Launcelot.
London: John and Josiah Boydell 1795. 1803. Original copper engraving 60 x 44 cm overall sheet 68.5 x 55 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1795. [1803]. unknown
Referentie van de boekhandelaar : 61451
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[SHAKESPEARE]; PETERS, W, The Revd (painter); SIMON, IP (engraver). I P
Merry Wives of Windsor. Act III. Scene III.
London: John and Josiah Boydell 1793. 1803. Original copper engraving c. 60 x 44 cm overall sheet c. 68.5 x 55 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1793. [1803]. unknown
Referentie van de boekhandelaar : 61487
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[SHAKESPEARE]; SMIRKE, R (painter); SIMON, IP (engraver). I P
Merry Wives of Windsor. Act I. Scene I.
London: John and Josiah Boydell 1793. 1803. Original copper engraving c. 60 x 44 cm overall sheet c. 68.5 x 55 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1793. [1803]. unknown
Referentie van de boekhandelaar : 61489
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[SHAKESPEARE]; HAMILTON, William (painter);SIMON, Peter (engraver).
Much Ado About Nothing. Act IV. Scene I.
London: John and Josiah Boydell 1790. 1803. Original copper engraving 44 x 60 cm overall sheet 55 x 68.5 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1790. [1803]. unknown
Referentie van de boekhandelaar : 61481
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[SHAKESPEARE]; PETERS, Revd W[illia]m (painter);SIMON, Peter (engraver).
Much Ado About Nothing. Act III. Scene I.
London: John and Josiah Boydell 1790. 1803. Original copper engraving 60 x 44 cm overall sheet 68.5 x 55 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1790. [1803]. unknown
Referentie van de boekhandelaar : 61482
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[SHAKESPEARE]. NORTHCOTE, Ja[me]s (painter); SIMON, P (engraver).
Romeo and Juliet. Act V. Scene III.
London: John and Josiah Boydell 1792 1803. Original copper engraving 44 x 60 cm overall sheet 55.5 x 68 cm. Light foxing to margins not affecting plate. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1792 [1803]. unknown
Referentie van de boekhandelaar : 61385
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[SHAKESPEARE]; WHEATLEY, Francis, RA; SIMON, IP (engraver). R A I P
Taming of the Shrew. Induction. Scene II. A room in the Lord's house. Sly with Lord & attendants.
London: John and Josiah Boydell 1794. 1803. Original copper engraving 44 x 60 cm overall sheet 53 x 66 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1794. [1803]. unknown
Referentie van de boekhandelaar : 61444
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[SHAKESPEARE]; WHEATLEY, Francis, RA; SIMON, IP (engraver). R A I P
Taming of the Shrew. Act II. Scene II. Baptista's house. Petruchio Katherine Bianca &c.
London: John and Josiah Boydell 1795. 1803. Original copper engraving 44 x 60 cm overall sheet 53.5 x 66 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1795. [1803]. unknown
Referentie van de boekhandelaar : 61443
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[SHAKESPEARE]; OPIE, J (painter); SIMON, JP (engraver). J P
Winter's Tale. Act II. Scene III.
London: John and Josiah Boydell 1795 1803. Original copper engraving 44 x 60 cm overall sheet 55 x 68 cm. Tissue guard to verso. Foxing to outer margins small 3m tear to lower margin neither affecting plate. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1795 [1803]. unknown
Referentie van de boekhandelaar : 61430
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[SIMON (Martine)] - DELLA TORRE (Claude).-
... d'avoir rêvé à tout celà un seul instant. Illustration Martine Simon.
P., La Feuille Fleurie, 1978, in 8° en feuilles sous couverture rempliée, 25 pages.
Referentie van de boekhandelaar : 72354
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[Simon BUSSY] Francis de MIOMANDRE.
Bestiaire Images de Simon Bussy, proses de Francis de Miomandre.
1927 Paris, G. Govone, 1927, 1 vol. in-folio (339 x 260 mm), broché sous couverture blanc cassé rempliée, vignette illustrée en couleurs au centre du plat supérieur, non paginé.Très pâles rousseurs en couverture, cahiers légèrement décollés du dos, très bel exemplaire très frais par ailleurs.
Referentie van de boekhandelaar : 14595
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[SIMON Edouard-Thomas, de Troyes]
Choix de poésies traduites du grec, du latin et de l'italien. Contenant la Puncharis de Bonnefons, les Baisers de Jean Second, ceux de Jean Vander-Does, des morceaux de l'Anthologie et des Poètes anciens et modernes, avec des notices sur la plupart des au
Londres, 1786. Deux volumes in 18 veau marbré de l'époque dos orné, tranches dorées.
Referentie van de boekhandelaar : 2816
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[SIMON (Richard.)]
Cérémonies et coustumes qui s’observent aujourd’huy parmi les Juifs. Traduites de l’italien de Leon de Modène, Rabin de Venise. Avec un supplément touchant les Sectes des Caraïbes et des Samaritains de notre temps. Par Don Recared Scimeon;
Paris, Billaine, 1674 ; in-12, basane brune de l’époque. 26 ff. n. ch. (préface, privilège, errata), 300 pp., 4 ff. n. ch. (table).ÉDITION ORIGINALE TRÈS RARE. Un des premiers livres du célèbre oratorien (Dieppe 1638 - 1712). Simon avait commencé de se faire connaître du public en publiant en 1670 un factum pour un juif condamné au feu par le Parlement de Metz, comme coupable de l’assassinat d’un enfant chrétien. Son mémoire contribue beaucoup à faire casser l’arrêt de condamnation.Ici il traduit l’Historia degli riti hebraici du rabbin Léon de Modène (1574 - 1654) dont la première édition avait paru à Paris en 1637 par les soins de Gaffarel. L’ouvrage est en 5 livres. Le cinquième contient le supplément sur les sectes juives hérétiques, les Caraïbes et les Samaritains, ainsi que plusieurs autres chapitres sur les divinations et sortilèges, les préceptes des femmes, les esclaves, etc. - Ingold p. 122 - Caillet 6539
Referentie van de boekhandelaar : 46401660
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[SIMON FRANCOEUR] - VALLES (Francis) -
Fort caribou.
Paris, Himalaya, 1986 ; in-4, 48 pp., cartonnage de l'éditeur(usures petites). Tampon.
Referentie van de boekhandelaar : 200501119
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