‎École‎

‎Gospel Star Staff; ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL‎

‎1958 Gospel Star Yearbook Rosedale Ohio Conservative Mennonite Bible School‎

‎Rosedale OH: ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL. spiral bound softcover. . Good. Soft cover. 1958. ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL paperback‎

Référence libraire : 25226H80026

‎Gospel Star Staff; ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL‎

‎1960 Gospel Star Yearbook Rosedale Ohio Conservative Mennonite Bible School‎

‎Rosedale OH: ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL. spiral bound softcover. . Good. Soft cover. 1960. ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL paperback‎

Référence libraire : 25224H80026

‎Gospel Star Staff; ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL‎

‎1962 Gospel Star Yearbook Rosedale Ohio Conservative Mennonite Bible School‎

‎Rosedale OH: ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL. spiral bound softcover. . Good. Soft cover. 1962. ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL paperback‎

Référence libraire : 25222H80026

‎Gospel Star Staff; ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL‎

‎1964 Gospel Star Yearbook Rosedale Ohio Conservative Mennonite Bible School‎

‎Rosedale OH: ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL. spiral bound softcover. . Good. Soft cover. 1964. ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL paperback‎

Référence libraire : 25220H80026

‎Gospel Star Staff; ROSEDALE OHIO CONSERVATIVE MENNONITE BIBLE SCHOOL‎

‎1972 Gospel Star Yearbook Rosedale Bible Institute‎

‎Rosedale OH: Rosedale Bible Institute. original yearbook. not reprint. . Good. Soft cover. 1972. Rosedale Bible Institute paperback‎

Référence libraire : 5017H84128

‎Gossez JP. et al eds. School Bruxelles 9 1975 J. P.‎

‎NONLINEAR OPERATORS & THE CALCULUS OF VARIATIONS. Summer School - Bruxelles 9-1975 Lecture Notes in Mathematics‎

‎Berlin/NY:: Springer. 6 1/2" x 9 1/2" PB; VG unmarked. 1976. ISBN: 237 pp. Catalogs: Mathematics. Keywords: NONLINEAR OPERATOR CALCULUS OF VARIATIONS. Springer paperback‎

Référence libraire : BOOKS021008I

‎GOTHIC FOR THE MODERN MIND : MERCHANT TAYLORSa SCHOOL AT CHARTERHOUSE, 1875‎

‎1875 Tinted Lithograph : Merchant Taylors' School Charterhouse. An original lithograph printed by W.W. Sprague & Co. London. An original page from The Architect. An Illustrated Weekly Magazine for the Architect Engineer Archaeologist Constructor & Art-Lover. Image size 37 x 29 cms‎

‎The Architect London 1875. Unframed Print. Very Good Condition. A double sheet print folded as issued image area approx. 37 x 29 cms. The illustrations found in leading architectural journals of the nineteenth and early twentieth centuries such as The Builder Building News and The Architect are masterpieces of visual craftsmanship. These illustrations capture the elegance intricacy and stylistic flair of the period’s architecture. Rich in ornamental detail and atmospheric depth they reflect not only the buildings themselves but the artistic sensibilities and design discourse of their age. THIS IS AN ORIGINAL PAGE FROM THE JOURNAL PRINTED AT THE DATE SHOWN IN THE TITLE NOT A REPRINT OR COPY. This tinted lithograph published in The Architect on April 3rd 1875 depicts the newly designed Merchant Taylors’ School at Charterhouse London. The building rendered in Gothic Revival style was the work of Edward I’Anson F.R.I.B.A. F.G.S. a prominent Victorian architect known for his institutional commissions. The illustration drawn by W. Papworth and C. W. Radclyffe combines architectural precision with atmospheric detail showing the school’s spired tower pointed arches and gabled roofs with clarity and restraint. The Gothic Revival style popular in mid to late 19th century educational architecture was chosen to evoke tradition moral seriousness and intellectual rigour. I’Anson’s design balances verticality with symmetry and the lithograph’s tinting adds depth to the stonework while softening the overall composition. Figures in the foreground lend scale and life to the scene reinforcing the building’s civic and scholarly purpose. As a print this piece reflects the high standards of Victorian architectural publishing where lithographs served both as documentation and promotion. It captures a moment when education architecture and print culture intersected each reinforcing the other’s values of order permanence and public service. Quantity Available: 1. Category: Builder & Building News; Vintage Prints; New Arrivals; Unframed Prints : Old. Inventory No: 374759. This item may require more postage than the rates shown for delivery outside the UK. If extra postage is required we will contact you before processing your order and you will be given the details and option to decline the extra cost. The Architect unknown‎

Référence libraire : 374759

‎GOTTL-OTTLILIENFELD, Friedrich v‎

‎Die wirtschaftliche Dimension. Eine Abrechnung mit der sterbenden Wertlehre.‎

‎Jena, Fischer, 1923. XI, 288 S. OKart. (Stempel auf Titel).‎

Référence libraire : 3323026

‎Gottschalk, Petter (BI Norwegian Business School, Norway)‎

‎Private Policing of Economic Crime‎

‎new. unknown‎

Référence libraire : 42293932-n ISBN : 0367696258 9780367696252

‎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

‎Cnformément à nos conditions générales de vente :Les frais de port sont affichés à titre indicatif. Il se peut que nous devions vous contacter pour vous informer du coût de laffranchissement supplémentaire en fonction du poids et du nombre de livres, surtout pour les envois internationaux Cependant vu l'augmentation des tarifs postaux à l'internationale, nous pouvons expédier les ouvrages en point relais MONDIAL RELAY pour les pays suivants : Allemagne, Autriche, Belgique, Espagne, Italie, Luxembourg, Pays-Bas, Pologne, et Portugal. Merci de nous indiquer en retour le point relais choisi ainsi que votre numéro de téléphone mobile & adresse Courriel pour assurer le suivi du colis.N'hésitez pas à nous interroger.In accordance with our general terms and conditions of sale:Shipping costs are displayed for informational purposes only. We may need to contact you to inform you of the additional postage costs depending on the weight and number of books, especially for international shipments.However, given the increase in international postal rates, we can ship books via Mondial Relay to the following countries: Germany, Austria, Belgium, Spain, Italy, Luxembourg, Netherlands, Poland, and Portugal. Please provide us with your chosen Mondial Relay point, as well as your mobile phone number and email address to ensure package tracking.Please feel free to contact us with any questions‎

Référence libraire : 1175

‎Goupil Annick‎

‎La semaine de français CE‎

‎Nathan 1993 224 pages in4. 1993. relié. 224 pages. La Semaine de Français CE2 est un manuel unique conçu comme un compagnon d'apprentissage agréable et efficace. Il est divisé en 26 unités correspondant aux semaines de l'année scolaire présentant des activités de lecture et de français sous une forme pratique et attrayante‎

‎Bon état‎

Référence libraire : 500314881

‎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

‎Goulson, Senior Lecturer Division of Biodiversity and Ecology at School of Biological Sciences Dave‎

‎A Sting in the Tale: My Adventures with Bumblebees‎

‎Paperback. Very Good. paperback‎

Référence libraire : GOR009293396 ISBN : 125007097X 9781250070975

‎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, The Hertie School of‎

‎The Governance Report 2018 Hertie Governance Report‎

‎like new. unknown‎

Référence libraire : 30338308 ISBN : 0198821492 9780198821496

‎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 unknown‎

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

‎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. 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 68, Delteil 70‎

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

‎Aquarda que te unten‎

‎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 102, Delteil 104.‎

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

‎Bellos Consejos‎

‎Acquaforte, acquatinta brunita e bulino, 1799. Dalla rara prima edizione di dodici della serie detta Los Caprichos, tavola 15. Magnifica prova, particolarmente nitida, impressa su carta vergata coeva, con usuali ampli margini, piccoli strappi di carta alle estremità dei margini, per il resto 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 - First edition -Etching, burnished aquatint and engraving, 1799. From the rare first edition (of twelve) of Los Caprichos, plate 15. A very fine impression, showing a good contrast, on contemporary paper, with usual wide margins, small tears at left white margin, otherwise in 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. The title can be translated into: Pretty teachings. Harris 50, Delteil 52.‎

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

‎Despacha, que dispièrtan‎

‎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 113, Delteil 115.‎

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

‎El Vergognoso‎

‎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. 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 assumono 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. 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. 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 fomr the HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980) collection (Lugt 5031).  Harris 89; Delteil 91.‎

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

‎Està Um..pues, Como digo..eh! Cuidado! Si nò…‎

‎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 111‎

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

‎No grites, tonta‎

‎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 109, Delteil 111.‎