Salazar, Philippe-Joseph,Biblio.com
2 177 résultats
réf. 247230like new. unknown
2018réf. x-3319672916Springer 2018. Hardcover. New. 328 pages. 9.25x6.10x0.75 inches. Springer hardcover
2019réf. x-3030059146Springer 2019. Hardcover. New. 182 pages. 11.00x8.25x0.75 inches. Springer hardcover
2017réf. __1474264883Bloomsbury USA Academic 2017. Hardcover. New. 258 pages. 9.25x6.25x0.75 inches. Bloomsbury USA Academic hardcover
réf. 49907101like new. unknown
réf. 49907101-nnew. unknown
2002réf. Star-9780805833416Taylor & Francis 2002. Hardcover. New. Taylor & Francis hardcover
2002réf. Star-9780805833416Taylor & Francis 2002. Hardcover. New. Taylor & Francis hardcover
réf. 26557168-nnew. unknown
réf. 24714374-nnew. unknown
1999réf. 163032Santander: Fundacion Marcelino Botin 1999. Paperback. Contents VG clean bright and tight; covers have some light shelf wear; copy is art museum ex-lib. with a few marks but none to text. Color-illustrated chartreuse wraps with black lettering on spine. French flaps. 285 pp. with color and bw images throughout. Text in Spanish. Catalogue from the exhibition held July to September 1999. "This exhibition presents an overview of seven Spanish artists working in Paris in the early twentieth century and whose work contributes to the renewal and creation of new languages in Contemporary Art. Of the selected artists the first to move to Paris in 1899 is Julio González who was followed by Pablo Picasso in 1900 Pablo Gargallo in 1903 Juan Gris in 1906 and María Blanchard in 1909. After the First World War another wave of Spanish artists chose France as their home including Joan Miró in 1920 and Salvador Dalí in 1926. All works in this exhibition at the Marcelino Botín Foundation belong to the Museo Nacional Centro de Arte Reina Sofía funds. The selection is made from those pieces in the collection that are not currently exhibited in the museum but which are representative of such a prolific period in Spanish Art. By Julio González there are three paintings from his early works in this discipline: Mujer peinando a una joven 1914-1918 La recolección de manzanas 1920-1925 and Dos mujeres 1920-1928. In 1910 he produces the first of his embossed metal masks; this moment belongs to Máscara inquietante 1913-1914. A few years later he produces pieces in cut and wrought iron such as Masque aceré 1929-1930. His work evolves into abstraction without abandoning figurative references like in Petite maternité assise 1933-1934 and El pie 1934-1936. For Gonzalez drawings are an essential part of his creative process. Exhibited are: Mujer con niña en malva 1906 Personaje de pie amarillo y blanco 1937 Personaje con velo largo nº I 1941 and El grito 1939 which lay the foundations for the Montserrat which González presents in the Spanish Pavilion at the Universal Exhibition in Paris in 1937 to which the Reina Sofía Museum dedicates an exhibition in 1987. The contribution of Pablo Picasso is overwhelming. On this occasion eleven preparatory studies to the Guernica 1937 are exhibited a work that exemplifies the Reina Sofía Museum Collection. Following the bombing of Guernica Picasso works on this monumental piece specifically for the aforementioned Spanish Pavilion. The horse is one of the first figures he drafts along with Cabeza llorando an image of the suffering of a mother. These exhibited drawings and canvasses refer to these reasons in addition to Estudio de composición VI 1937. Pablo Gargallo received by Picasso on his arrival in Paris is along with Julio González the most important Spanish sculptor from the early twentieth century. By him the pieces Torse de gitan 1923 La dormeuse 1924 Porteuses d’eau 1925 and Tête de prophète 1926 are exhibited accompanied by three drawings which are the basis for his sculptures Arlequín a la guitarra 1927 and Bailarina. Teresina Boronat 1927 in two different versions. By Juan Gris creator of Synthetic Cubism the paintings El violón 1916 y Guitarra con incrustaciones 1925 were chosen as well as drawings Naturaleza muerta a la guitarra 1925 and Hombre a la guitarra 1925-1926. These last two are the original drawings and drafts for lithographs that Gris produces for Gertrude Stein’s Book: A Book Concluding with As a Wife Has a Cow: A Love Story 1926. The Museo Reina Sofía has a large collection of works by María Blanchard partly acquired in 1932 from her sister Carmen. They include: Mujer con abanico 1915-1916 and Composición Cubista 1916 from her cubist period and Niña peinándose 1926-1927 La bordadora 1926 and Niños 1930-31 from her return to figuration. The second group is made up of those artists who return to Paris in the Twenties like Joan Miró and Salvador Dalí. The paintings by Miro include: Personnage oiseaux 1974 Paisaje 1974 Femme oiseau I 1977 Paysage 1976 and Personnages oiseaux constellations 1976 accompanied by sculptures such as Femme soleil 1966 Torse de femme 1967 Tête dans la nuit 1968 Tête de taureau 1970 Jeune fille rêvant de l’evasion 1971 and Femme et oiseau 1971. Dalí presents an untitled canvas from 1928 a study to Premonición de la Guerra Civil 1935 the unfinished painting of his muse and companion Busto de Gala 1939 the canvas: A propósito del “Discurso sobre la forma cúbica” de Juan de Herrera 1960 inspired by the renowned architect a painting that reveals his interest in science Ãrabes. Ãcido desoxirribonucleico 1963 and the first version of El Camino del Enigma 1981 one of his final compositions." - from the museo reina sofia web site. Fundacion Marcelino Botin paperback
1999réf. 163032Santander: Fundacion Marcelino Botin 1999. Paperback. Contents VG clean bright and tight; covers have some light shelf wear; copy is art museum ex-lib. with a few marks but none to text. Color-illustrated chartreuse wraps with black lettering on spine. French flaps. 285 pp. with color and bw images throughout. Text in Spanish. Catalogue from the exhibition held July to September 1999. "This exhibition presents an overview of seven Spanish artists working in Paris in the early twentieth century and whose work contributes to the renewal and creation of new languages in Contemporary Art. Of the selected artists the first to move to Paris in 1899 is Julio González who was followed by Pablo Picasso in 1900 Pablo Gargallo in 1903 Juan Gris in 1906 and María Blanchard in 1909. After the First World War another wave of Spanish artists chose France as their home including Joan Miró in 1920 and Salvador Dalí in 1926. All works in this exhibition at the Marcelino Botín Foundation belong to the Museo Nacional Centro de Arte Reina Sofía funds. The selection is made from those pieces in the collection that are not currently exhibited in the museum but which are representative of such a prolific period in Spanish Art. By Julio González there are three paintings from his early works in this discipline: Mujer peinando a una joven 1914-1918 La recolección de manzanas 1920-1925 and Dos mujeres 1920-1928. In 1910 he produces the first of his embossed metal masks; this moment belongs to Máscara inquietante 1913-1914. A few years later he produces pieces in cut and wrought iron such as Masque aceré 1929-1930. His work evolves into abstraction without abandoning figurative references like in Petite maternité assise 1933-1934 and El pie 1934-1936. For Gonzalez drawings are an essential part of his creative process. Exhibited are: Mujer con niña en malva 1906 Personaje de pie amarillo y blanco 1937 Personaje con velo largo nº I 1941 and El grito 1939 which lay the foundations for the Montserrat which González presents in the Spanish Pavilion at the Universal Exhibition in Paris in 1937 to which the Reina Sofía Museum dedicates an exhibition in 1987. The contribution of Pablo Picasso is overwhelming. On this occasion eleven preparatory studies to the Guernica 1937 are exhibited a work that exemplifies the Reina Sofía Museum Collection. Following the bombing of Guernica Picasso works on this monumental piece specifically for the aforementioned Spanish Pavilion. The horse is one of the first figures he drafts along with Cabeza llorando an image of the suffering of a mother. These exhibited drawings and canvasses refer to these reasons in addition to Estudio de composición VI 1937. Pablo Gargallo received by Picasso on his arrival in Paris is along with Julio González the most important Spanish sculptor from the early twentieth century. By him the pieces Torse de gitan 1923 La dormeuse 1924 Porteuses d’eau 1925 and Tête de prophète 1926 are exhibited accompanied by three drawings which are the basis for his sculptures Arlequín a la guitarra 1927 and Bailarina. Teresina Boronat 1927 in two different versions. By Juan Gris creator of Synthetic Cubism the paintings El violón 1916 y Guitarra con incrustaciones 1925 were chosen as well as drawings Naturaleza muerta a la guitarra 1925 and Hombre a la guitarra 1925-1926. These last two are the original drawings and drafts for lithographs that Gris produces for Gertrude Stein’s Book: A Book Concluding with As a Wife Has a Cow: A Love Story 1926. The Museo Reina Sofía has a large collection of works by María Blanchard partly acquired in 1932 from her sister Carmen. They include: Mujer con abanico 1915-1916 and Composición Cubista 1916 from her cubist period and Niña peinándose 1926-1927 La bordadora 1926 and Niños 1930-31 from her return to figuration. The second group is made up of those artists who return to Paris in the Twenties like Joan Miró and Salvador Dalí. The paintings by Miro include: Personnage oiseaux 1974 Paisaje 1974 Femme oiseau I 1977 Paysage 1976 and Personnages oiseaux constellations 1976 accompanied by sculptures such as Femme soleil 1966 Torse de femme 1967 Tête dans la nuit 1968 Tête de taureau 1970 Jeune fille rêvant de l’evasion 1971 and Femme et oiseau 1971. Dalí presents an untitled canvas from 1928 a study to Premonición de la Guerra Civil 1935 the unfinished painting of his muse and companion Busto de Gala 1939 the canvas: A propósito del “Discurso sobre la forma cúbica” de Juan de Herrera 1960 inspired by the renowned architect a painting that reveals his interest in science Ãrabes. Ãcido desoxirribonucleico 1963 and the first version of El Camino del Enigma 1981 one of his final compositions." - from the museo reina sofia web site. Fundacion Marcelino Botin paperback books
2011réf. BN526917Arteko - Galeria De Arte 2011. 2011. Softcover. Cuentos para adultos CD Cuentos para adultos CD Dora Salazar Harkaitz Cano et Joserra Senperena Arteko - Galeria De Arte paperback
2024réf. BN690211Springer 2024. 2024. Hardcover. Drilling Geomechanics in Naturally Fractured Reservoirs Near Salt Structures Drilling Geomechanics in Naturally Fractured Reservoirs Near Salt Structures Morales Salazar Juan Pedro Springer hardcover
194158 pages. Features: Two-color Ford ad inside front cover targets the young man looking for his first car; Nice two-page Budd railcar ad speaks of their safety; Nice one-page 1941 Chevrolet Truck ad; Eye-catching one-page, two-color ad for the January 18th issue of the Saturday Evening Post highlights its many interesting highlights; Stan Laurel marries Virginia Ruth Rogers Laurel; Obituaries/death notices for comedian Joe Penner, James Joyce, Dr. Emanuel Lasker and Lord Baden-Powell; Nice one-page two color ad for the New International Trucks features a red delivery van; US Politics; Photo of 'Nazi in a pen somewhere in the US; Hitler - Yugosloavia invasion hint on heels of Russian pact; Weak-winged Italy; Large photo of terrible bomb damage to London's old Paternoster Row after December 29th; Article on London's Volunteer Firefighters and how they foil the Nazis; Increasing French opposition to occupation forces; Wavell's Wave Sweeps over Libya; Peaceful Portugal - article with photo of Premier Salazar; Photos of Lt. Gen. Van Voorhis and Admiral Kimmel; Chrysler "Fluid Drive" one-page ad; Article and photo of the Martin B-26 Flying Torpedo; Nice Fruehauf Trailer ad "From Soup to Nuts"; Boxing article with large photo of Pat Comiskey in ring with Lou Nova; Fantastic color-photo ad for the 1941 Studebaker Land Cruiser features Mrs. Priscilla St. George Duke; Great back cover ad for Chesterfield cigarettes features color illustration of Marion Hutton; and much more. Average wear. Unmarked. A sound vintage copy. Book
1939réf. 9320México: Alcancía 1939. Hardcover Tapa dura. México Alcancía 1939. En 4º. xvi pp. 32 h. 2 bl. Encuadernación en piel vuelta de época. Narra las honras fúnebres que las autoridades de la Nueva España tributaron en el año de 1559 al recién fallecido Emperador Carlos V. Publicado por Justino Fernández y Edmundo O'Gorman precedido de un prólogo por Federico Gómez de Orozco. Edición facsimilar del ejemplar que se conserva en la Henry E. Huntington Library and Art Gallery. Homenaje a la imprenta en América con motivo del IV centenario de su establecimiento. Muy raro edición limitada a sólo 100 ejemplares numerados el nuestro con el número 17. Alcancía hardcover
1879réf. 23.984Madrid: Imprenta de Manuel G. Hernández 1879. 1ª ed. Wrappers. 15.5x23. Imprenta de Manuel G. Hernández unknown
1996réf. BN115608International Potato Center 1996. 1996. Softcover. Potato Viruses and Their Control Potato Viruses and Their Control International Potato Center paperback
2017réf. x-1138470937Taylor & Francis 2017. Hardcover. New. 128 pages. 9.01x5.98x1.42 inches. Taylor & Francis hardcover
2022réf. x-1032343842Routledge 2022. Hardcover. New. 208 pages. 9.19x6.13x0.58 inches. Routledge hardcover
2023réf. x-0367181304Routledge 2023. Hardcover. New. 160 pages. 9.19x6.13x0.66 inches. Routledge hardcover
2012réf. 2-1619428652Nova Science Pub Inc 2012. Hardcover. New. uk ed. edition. 164 pages. 10.25x7.25x0.75 inches. Nova Science Pub Inc hardcover
réf. 9781626188631NOVA SCIENCE PUBLISHERS INC
1953réf. 545015Buenos Aires: Espasa-Calpe Argentina 1953. Hardcover. Near Fine. First edition. Octavo. 310pp. Text in Spanish. Illustrated with several plates. Modest wear and spine trifle toned just about near fine. Inscribed to noted American composer Virgil Thomson on the front blank with Thomson's private library blindstamp on the title page. With an errata slip laid in. A nice association. Espasa-Calpe Argentina hardcover
1953réf. 545015Buenos Aires: Espasa-Calpe Argentina 1953. Hardcover. Near Fine. First edition. Octavo. 310pp. Text in Spanish. Illustrated with several plates. Modest wear and spine trifle toned just about near fine. Inscribed to noted American composer Virgil Thomson on the front blank with Thomson's private library blindstamp on the title page. With an errata slip laid in. A nice association. Espasa-Calpe Argentina hardcover books
