‎École‎

‎GOUDIER A.‎

‎DEVOIRS DE VACANCES.‎

‎Angers, Edition de l'auteur, s.d. ( 1923), plaquette in18, 30 pages, bon état.‎

‎Devoirs de Vacances pour les élèves sortant de Division Préparatoire : Première année ( Garçons) et Classe enfantine ( Jeunes filles).‎

Référence libraire : 4944

‎GOUE, Mde & E. - préface de E.-L. BOUVIER‎

‎Comment faire observer nos Elèves‎

‎PARIS, Fernand Nathan Editeur, 1912 - In-octavo -Reliure pleine toile noire éditeur - Dos lisse - titre doré - 195 pages - Bon exemplaire‎

‎- Livraison a domicile (La Poste) ou sur simple demande en Mondial Relay.- ATTENTION: Colis recommandé uniquement sur demande (parcel recommended on request). Si vous désirez un remboursement équivalent au montant de votre achat, en cas de perte détérioration ou spoliation, demandez-nous expressément un envoi en recommandé ( if you wish a repayment equivalent to the amount of your purchase, in case of loss - deterioration or despoliation, ask us expressly for a sending recommended)- Conditions de vente : Les frais de port sont affichés à titre Indicatifs (pour un livre) Nous pouvons être amené à vous contacter pour vous signaler le surcoût du au nopmbre de livres achetés ou du poids de ceux-ci. - Conditions of sale : The shipping costs are displayed as an indication (for one book) We may need to contact you to inform you of the cost of the additional shipping depending on the weight and the number of books- Possibilité d'envoi par Mondial-Relay - Réception en boutique sur rendez-vous. Librairie G. PORCHEROT - SP.Rance - 0681233148‎

Référence libraire : 1175

‎Gough Lewis Henry London School of Hygiene and Tropical Medicine London School of Hygiene and Tropical Medicine‎

‎A monograph of the tape-worms of the sub-family Aventillinae being a revision of the genus Stilesia and an account of the histology of Avitellina centripunctata Riv. 1911 Hardcover‎

‎2020. Hardcover. New. Lang: - eng Pages 84. Reprinted in 2020 with the help of original edition published long back 1911. This book is Printed in black & white Hardcover sewing binding for longer life with Matt laminated multi-Colour Dust Cover Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Any type of Customisation is possible with extra charges. Hope you will like it and give your comments and suggestions. hardcover‎

Référence libraire : 1111006981757

‎GOUPIL Adolphe (1806–1893)‎

‎Gruppo di gatti‎

‎Fotoincisione, circa 1891, firmata in lastra in basso al centro.Da un dipinto di Henriette Ronner (Amsterdam 1821-1909), la più grande pittrice di gatti.Prova di stampa, prima del titolo, impressa su carta cina applicata, con margini, in perfetto sttao di conservazione.Questo lavoro è parte del catalogo della mostra che esponeva i dipinti di Henriette Ronner, curato dalla stessa galleria Goupil, nle maggio del 1891.Questo l'astratto originale che annunciava il catalogo: 'Cats and kittens by Madame Henriette Ronner, May 189 ... Goupil Gallery' Catalogue includes advertisement for 'Henriette Ronner, The Painter of Cat-Life and Cat-Character' with text by M.H. Spielmann, containing a portrait and twelve full-page illustrations in photogravure by Boussod, Valadon & Co. Photogravure, circa 1891, signed at the center.After a painting by Henriette Ronner (Amsterdam 1821-1909).Proof before title on china wove paper, with full margins, perfect condition.This work is part of the exhibition catalogue of Henriette Ronner, published by Goupil Gallery.Exhibition catalogue extract: 'Cats and kittens by Madame Henriette Ronner, May 189 ... Goupil Gallery' Catalogue includes advertisement for 'Henriette Ronner, The Painter of Cat-Life and Cat-Character' with text by M.H. Spielmann, containing a portrait and twelve full-page illustrations in photogravure by Boussod, Valadon & Co.‎

‎Governance Hertie School Of‎

‎The Governance Report 2016 Hertie Governance Report‎

‎Oxford University Press 2016-06-14. Paperback. Very Good. Ships Within 48 hours M-F. Very Good Condition - May show some limited signs of wear and may have a remainder mark. Pages and dust cover are intact and not marred by notes or highlighting. Oxford University Press paperback‎

Référence libraire : OX-PB16-J-VG-0198757433 ISBN : 0198757433 9780198757436

‎Government Printing Office / Infantry School Of Arms‎

‎GERNADE TRAINING MANUAL Restricted TM 30-480‎

‎Fort Sill OK: Infantry School of Arms. 1918. First Edition; First Printing. Softcover. Book condition is Very Good with brown wrappers. Owner name to top of front panel. Wear to spine and glue stain at rear panel. Small hole in end paper at rear. Text is clean and unmarked. Illustrated throughout with photos and diagrams. ; 32mo 4" - 5" tall; 101 pages . Infantry School of Arms paperback‎

Référence libraire : 14007

‎Government of British Columbia‎

‎Statutes of British Columbia Passed in the Fourth Session of the Third Parliament of British Columbia, Begun and Holden at Victoria, on the 24th January, and Ending on the 25th March, 1881‎

‎Contains Acts relating to: Administration of Justice; Appeals to Supreme and Exchequer Courts, Canada; Bishops of British Columbia, Caledonia, and New Westminster; Cattle - transfer of brands and marks, and more; Coroner's Inquests; Supreme and Exchequer (Canada) Courts; Dogs - damage by; Drainage, Dyking, and Irrigation; Documentary Evidence; Fences and Water Courses; Firemen; Lien; Loan; Gold Mines; Municipalities; Poisons - preventing indiscriminate use of; Public Parks; Quesnelle Lake Dame Co.; Revenue; Supply; Swine - to prohibit running at large of; School Taxes; Provincial Revenue Taxes; Trustees; Vancouver Coal Mining Co.; Victoria Official Map; Victoria Water Works; Woollen Mill. Above-average wear. Usual library markings. Book‎

‎Government of British Columbia‎

‎Statutes of British Columbia Passed in the Second Session of the First Parliament of British Columbia, 1872‎

‎Contains Acts relating to: Land Registry Ordinance; Justice of the Peace; Mineral Ordinance; Gold Mining; Municipality Act; Election of MLAs; Office of Sheriff; The Public School Act; Public Works Act; Drainage, Dyking, and Irrigation; Wild Land Tax; Road Ordinance; Election of MLAs; Gold Mining; Courts Merger; MPs ineligible to be MLAs; Fireman's Protection Act; Proof under Oath; Suits against the Crown; Supply of Water to Victoria; Land Ordinance, 1870; William Creek Fire Brigade; Esquimalt and Nanaimo Railway Company (E&N), Incorporation of; Replevin; The Public Inquiries Aid Act; An Act to Secure Wives and Children; Indemnification of members of the Legislative Assembly; Asylums for the Insane; Rights of the Property of Married Women; Bills of Sale; The Constitution Act, 1871; Scale of Fees to be taken by certain officers; Agricultural Societies; Allowances to Jurors in Criminal Cases; the Legislative Assembly Privileges Act; Game Ordinance; Attorneys of the Supreme Court to be called to the bar of said court; The Homestead Ordinance; Defraying the expenses of civil government; Indemnification of Members of the Executive Council and others; Practitioners in the County Courts and other inferior Courts; Privileges of the members of the Legislative Assembly; An act to render legitimate, children born out of lawful wedlock. Above-average wear. Usual library markings. Book‎

‎Governor Baxter State School for the Deaf‎

‎Interpreting for deaf people‎

‎2020. Softcover. New. Pages 160. Reprinted in 2020 with the help of original edition published long back. This book is Printed in black & white sewing binding for longer life with Matt laminated multi-Colour Soft Cover HARDCOVER EDITION IS ALSO AVAILABLE Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Any type of Customisation is possible. Hope you will like it and give your comments and suggestions. paperback‎

Référence libraire : PB1111017569414

‎Governor Baxter State School for the Deaf‎

‎Interpreting for deaf people Full Leather Bound‎

‎2020. Full Leather Bound. New. Antique look with Golden Leaf Printing and embossing with round Spine completely handmade bindingextra customization on request like Color Leather Colored book special gold leaf printing etc. Reprinted in 2020 with the help of original edition published long back . This book is printed in black & white sewing binding for longer life Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure in old look so we brought it back to the shelves. Hope you will like it and give your comments and suggestions. Lang: - Pages 160. EXTRA 10 DAYS APART FROM THE NORMAL SHIPPING PERIOD WILL BE REQUIRED. Normal Hardbound Edition is also available on request. hardcover‎

Référence libraire : SD1111017569414

‎Gowers W. R. William Richard London Royal Free Hospital School of Medicine for Women former owner King's College London‎

‎A manual of diseases of the nervous system. 1899 Hardcover‎

‎2020. Hardcover. New. Lang: - eng Pages 722. Reprinted in 2020 with the help of original edition published long back 1899. This book is Printed in black & white Hardcover sewing binding for longer life with Matt laminated multi-Colour Dust Cover Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Any type of Customisation is possible with extra charges. Hope you will like it and give your comments and suggestions. hardcover‎

Référence libraire : 1111006870235

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Al Conde Palatino‎

‎Opera tratta dai Los Caprichos, per la prima volta pubblicati nel 1799.Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870.Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato.Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799.From the fourth edition of twelve of the so-called Los Caprichos series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, usual wide margins, in very good conditions.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape.Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship.The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 68, Delteil 70.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Autoritratto‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quinta edizione di dodici, stampata dalla calcografia di Madrid, circa 1883. Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Plate 1: portrait of the artist wearing hat, bust-length to left; Fifth Edition c.1883 impression. 1799 Etching, aquatint, drypoint and burinFrom the fifth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1883].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 36, Delteil 38.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Chiton‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 63, Delteil 65.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎El Vergognoso‎

‎Acquaforte, acquatinta brunita e bulino, 1799.Dalla rara prima edizione di dodici della serie detta Los Caprichos, tavola 54.Magnifica prova, particolarmente nitida, impressa su carta vergata coeva, con usuali ampli margini, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni. Questa prima edizione del 1799, l’unica a non essere pubblicata postuma, è impressa su soffice carta vergata di gran qualità ed è stampata usando un delicato inchiostro seppia. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. Per questo ne sono stimati solo circa 300 esemplari. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa In questo soggetto Goya affronta il tema del mondo alla rovescia. Nella scena ci sono tre personaggi, il centro dell'attenzione è l'uomo che sta mangiando, e che cerca di evitare tutti gli sguardi, vergognandosi dei tratti osceni del suo viso. L'artista ha chiaramente indicato il suo pensiero disegnando la cintura di un paio di pantaloni sopra la testa del personaggio. I nasi sono una presenza notevole sul viso, e nel linguaggio popolare "nasi" è un chiaro eufemismo sessuale. Il modo in cui il viso è costruito, in modo che sopracciglia, occhi e naso evochino l'apparato genitale maschile, rafforzerebbe lo stesso senso. Altri commenti insinuano che la figura, nel piano superiore, con i suoi grandi pugni serrati, stia commettendo sodomia con la figura che tiene il vaso da cui mangia l'uomo vergognoso. L'anno 1799 è uno dei momenti chiave nella vita e nel lavoro di Francisco de Goya. Oltre ad essere nominato primo pittore da camera di Goya, a godere di un crescente prestigio come ritrattista e ad inaugurare la cappella di San Antonio de la Florida, che aveva decorato, il 6 febbraio il Diario de Madrid pubblicò un annuncio in cui venivano messe in vendita le ottanta stampe che compongono la serie dei Caprichos. Bellissimo esemplare. Al verso timbro di collezione HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980), editore, libraio e mercante di stampe a Parigi (Lugt 5031). - The rare first edition -Etching, burnished aquatint and engraving, 1799.From the rare first edition (of twelve) of Los Caprichos, plate 54.A very fine impression, showing a good contrast, on contemporary paper, with usual wide margins, perfect condition.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid paper of great quality and is printed using a delicate sepia ink. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. For this it is estimated only about 300 copies. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial.  In this print Goya approaches the theme of the world upside down. In the scene there are three characters, being the focus of attention the man who is eating, and tries to avoid all eyes, ashamed of the obscene features of his face. The artist has clearly indicated his thinking by drawing above the character's head the waistband of a pair of pants. The noses take on a notable presence on the face, and in popular language "noses" is a clear sexual euphemism. The way the face is constructed, so that eyebrows, eyes and nose evoke the male genital apparatus, would reinforce the same sense. Other comments insinuate that the figure, in the upper plane, with his large clenched fists, is committing sodomy with the figure holding the vessel from which the shameful man eats. The year 1799 is one of the key moments in the life and work of Francisco de Goya. In addition to being named first chamber painter, enjoying a growing prestige as a portrait painter and the inauguration of the chapel of San Antonio de la Florida, which he had decorated, on February 6 the announcement of the sale of the eighty prints that form the series of the Caprichos was published in the Diario de Madrid. Here, Goya focuses his social criticism on the bestiality of a deformed man whose head emerges from his breeches. Among the slight variations between the print and the preparatory drawing, the most striking is that, in the former, he wears his trousers, but in the latter, he does not. As a result, the latter came to be known as The satire of man’s lechery. Moreover, this is the only drawing in the series to mix red-ink wash with pen. Valentín Carderera’s handwritten commentaries on the Caprichos, which are in both the Biblioteca Nacional and the Museo del Prado, further clarify this subject. The first reads: Men with large noses also tend to have large arrows [here, “arrow” is a euphemism for penis] and fat gandumbas [testicles]. As they are often sodomites, this one is depicted with his breeches on his head, with his pudenda hanging out as he lies on top of a poor devil and pulls up his skirts. The second commentary completes the information: There are men whose face is the most indecent part of their body, and it would be good if those whose face is that disgraceful and ridiculous would stick it in their breeches. Example from the HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980) collection (Lugt 5031).  Harris 1964, 89.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Estan calientes‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 48, Delteil 50‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Hasta la muerte‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid (circa 1870).Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Plate 55: old woman prettifying herself at mirror, maid and two male servants watching; from an album of the fourth edition. 1799 Etching, burnished aquatint and drypoint.From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia.A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 90; Delteil 92.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Obsequio à el maestro‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 82, Delteil 84.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Qual la descañonan!‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 56, Delteil 78.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Tan barbara la seguridad como el delito (Il prigioniero)‎

‎Acquaforte e bulino, circa 1810/15. Il titolo dell’opera è tratto da una scrittura a mano in una prova di stampa dell’opera che Goya include nell’album dei “Disastri della guerra” che donò al suo amico Ceán Bermúdez e che ora è conservato al British Museum di Londra. Il disegno preparatorio dell’opera è conservato al Prado di Madrid.   Esemplare nel terzo stato di quattro, inserito nella Gazette des Beaux-Arts (1867); si tratta della prima vera edizione dell’opera, conosciuta altrimenti solo attraverso due prove di stampa. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cfr. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris ritiene che la matrice di rame si trovi in una collezione privata di Parigi. Bibliografia Harris 26 III/IV; Delteil 31. Etching and engraving, circa 1810/15. The title of this work is taken from the handwritten title of a state proof that Goya included in the album of his Disasters of War prints which he gave to his friend Ceán Bermúdez and which is now in the British Museum, London. The preparatory drawing for this etching is in the Prado Museum, Madrid. Example of the third state of four, form the Gazette des Beaux-Arts (1867), firts edition of this work, before known only for proof states. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cf. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris believes that the plate for this etching may be in a private collection in Paris. Literature Harris 26 III/IV; Delteil 31. Harris 26, III/IV; Delteil 31.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Ysele quema la Casa‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 53, Delteil 55.‎

‎GOYTISOLO, Juan‎

‎EXAMEN DE CONCIENCIA - SPANISCHE GEWISSENS ERFOSCHUNG - 1966‎

‎Ebenhausen, Langewiesche-Brandt, 1966. 96 p. 8º menor.‎

‎GrAberg Jacob GrAberg Jacob London School of Hygiene and Tropical Medicine‎

‎Sur la peste de Tanger en 1818-1819. Lettre de Monsieur Jacques GrA�berg de Hemso . a Monsieur Le Dr. Louis Grossi 1820 Hardcover‎

‎2020. Hardcover. New. Lang: - frefre Pages 62. Reprinted in 2020 with the help of original edition published long back 1820. This book is Printed in black & white Hardcover sewing binding for longer life with Matt laminated multi-Colour Dust Cover Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Any type of Customisation is possible with extra charges. Hope you will like it and give your comments and suggestions. hardcover‎

Référence libraire : 1111006870764

‎Grabham Michael Comport St. Thomas's Hospital. Medical School Library former owner King's College London‎

‎The climate and resources of Madeira : as regarding chiefly the necessities of consumption and the welfare of invalids 1870 Hardcover‎

‎2020. Hardcover. New. Lang: - eng Pages 240. Reprinted in 2020 with the help of original edition published long back 1870. This book is Printed in black & white Hardcover sewing binding for longer life with Matt laminated multi-Colour Dust Cover Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Any type of Customisation is possible with extra charges. Hope you will like it and give your comments and suggestions. hardcover‎

Référence libraire : 1111006891986

‎Grace Hospital School‎

‎YEARBOOK LAVENDER AND LACE. 1975‎

‎Richmond: Grace Hospital School 1975. Hard Cover. Very Good binding. The 1975 Lavender and Lace the yearbook for the Grace Hospital School in Richmond Virginia. With no marks. Some spots of discoloration to the boards. Purple cloth printed white. Very Good. Very Good binding. Grace Hospital School unknown‎

Référence libraire : 287478