‎École‎

‎Gostick, Ron [Signed]‎

‎Canada - Its Glorious Potential... And Things I Didn't Learn in School *SIGNED BY AUTHOR*‎

‎95 pages. Author's signature upon title page. "Money, and in modern times credit, in all their forms and instruments, are the lifeblood of society and the nation. For generations, practically all modern industrialized nations have experienced periods of boom times and inflation, followed by depression, hard times and a shortage of 'money'... and in recent decades, every country seems plagued with an escalating mountain of debt - and taxation to pay the interest on the mounting debt." - dust jacket. Author has been an inexhaustable and prominent proponent of freedom for Canadians for many decades. Unread. Gift quality. Book‎

‎Goto Jun Fukui School‎

‎New revision elementary school haiku reading‎

‎Not Available 1887. Soft Cover. Fine. The book is in fine condition. Not Available paperback‎

Referenz des Buchhändlers : 2080502106914552

‎GOTTL-OTTLILIENFELD, Friedrich v‎

‎Wirtschaft. Gesammelte Aufsätze.‎

‎Jena, Fischer, 1937. V, 87 S. OKart.‎

Referenz des Buchhändlers : 3044090

‎Gottschalk, Petter (BI Norwegian Business School, Norway)‎

‎Private Policing of Economic Crime‎

‎like new. unknown‎

Referenz des Buchhändlers : 42293932 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

‎Conformément 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

Referenz des Buchhändlers : 1175

‎Gould, Richard A. (Editor), and School of American Research‎

‎Explorations in Ethnoarchaeology‎

‎University of New Mexico Press. 1978. Unabridged. Hard cover. Fine in very good dust jacket. 343 p. . No previous owner's name. Clean tight pages. No bent corners. dj had edgewear tear . University of New Mexico Press hardcover‎

Referenz des Buchhändlers : Alibris.0036968 ISBN : 0826304540 9780826304544

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

‎A Sting in the Tale: My Adventures with Bumblebees‎

‎Picador USA 04/28/2015. Reprint. Paperback. Used; Very Good. WE SHIP WITHIN 24 HRS FROM LONDON UK 98% OF OUR ORDERS ARE RECEIVED WITHIN 7-10 DAYS. We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Greener Books. Picador USA paperback‎

Referenz des Buchhändlers : 2887140 ISBN : 125007097x 9781250070975

‎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

Referenz des Buchhändlers : 500314881

‎Governance, The Hertie School of‎

‎The Governance Report 2018 Hertie Governance Report‎

‎new. unknown‎

Referenz des Buchhändlers : 30338308-n ISBN : 0198821492 9780198821496

‎Governance, Hertie School Of‎

‎The Governance Report 2016 Hertie Governance Report‎

‎paperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback‎

Referenz des Buchhändlers : 0198757433.G ISBN : 0198757433 9780198757436

‎Government of Alberta‎

‎Alberta Provincial Schools of Agriculture: Calendar for 1918-1919‎

‎48 pages. Black and white photos. Includes: separate group photos of staff and students of Claresholm School, Olds School, and Vermilion School, with name lists of staff; General Information; Admission Requirements; Regulations; Prizes; Details of Courses; Nice 5 panel fold-out photo of the "School of Agriculture and Demonstration Farm, Olds Alberta" (beneath which is a caption reading 'Buildings and Equipment are Identical at all Schools); Various photos of students at work and one shot of the Boys' Hockey Team. Blank 'Application for Admission to the Provincial School of Agriculture' remains affixed to perforated tab inside back cover. Prior owner's small ink stamp atop front cover else unmarked with moderate wear. Binding sound. A most wonderful item from Alberta's distant past! Book‎

‎Government of British Columbia‎

‎Statutes of British Columbia Passed in the Second Session of the Third Parliament of British Columbia, Begun and Holden at Victoria, on the 29th January, and Ending on the 29th April 1879‎

‎Contains Acts relating to: Cost of Arbitrations; Auditor and Accountants; Bills of Sale; Toll Bridges; Cattle Ranges; Cemetery Ordinance; Cemetery Companies; Cemeteries; Fire Companies, Nanaimo; Constitution; Coroners; Costs of Arbitration; Costs of Levying Distresses for Rents and Penalties; Appointing Judical District Courts; Constables; Crown Lands; Civil Service; Distresses for Rents and Penalties; Judicial Districts; Dyking (Sumas); Cancellation of Debentures; Fees; Fencing of Land; Fences and Water Courses; Gaols; Graving Dock; Justices of the Peace; Judicial Districts; Journals; Crown Lands; Land Registry; Licences; Marriage Licences; Liens; Public Loans; Law Stamps; Magistrates; Marriage Licences; Municipalities; Mining Licences; Prisons; Revenue; School Tax; Public Schools; Statutes and Sessional Papers; Sheriffs; Sumass Dyking; Winter Stock Ranges; Supreme Court; Supply; Property Taxes; Toll Bridges. Front hinge open. Above-average wear. Usual library markings. Book‎

‎Goya Jimbo, Tadakazu Aoyama, Tsuyoshi Nagaguregawa, etc. School Note / Translation‎

‎Complete Works of Japanese Classical Literature 37 Kana Soshi Collection Ukiyo Soshi Collection‎

‎Shogakukan 1983. Soft Cover. Fine. Number of books: 1 book Shogakukan paperback‎

Referenz des Buchhändlers : 2080202103901662

‎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.‎

‎Grace Hospital School of Nursing‎

‎The Silver Cross 1960; 8‎

‎Paperback / softback. New. paperback‎

Referenz des Buchhändlers : A9781014083999 ISBN : 1014083990 9781014083999