10 930 résultats
réf. 39812597-6Used - Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. unknown
réf. HD-189o.J. Die mühsame und heikle Aufgabe des Zeichenlehrers: Es liegt an ihm, die Abweichungen und Verunstaltungen, die seine jungen Schüler produzieren, zurecht zu biegen. Lithographie, auf chamoisfarbenem Velin, mit den Adressen: Chez Aubert & Cie, Pl. de la Bourse, sowie: Imp. d'Aubert & Cie. Darstellungsgröße 18,2:24,4 cm, Blattgröße 26,1:34 cm. Literatur: Daumier-Register 1468 II (von 2); Delteil 1468 II (von 2), Blatt der 31 Folge ?PROFESSEURS ET MOUTARDS.?, erschienen 11.06.1846 in ?LE CHARIVARI?. ? Sur blanc!
1829réf. List3693Philadelphia 1829. Folio 2 pp. Tear to title page some chips to margins with loss good condition overall. An early Philadelphia theatrical music imprint by I. T. Norton credited on the sheet as “I. T. Norton R.A.M. Composer & Director of the Music to the Chestnut St. Theatre.” Norton served as musical director at the Second Chestnut Street Theatre during the late 1820s a period when the house mounted a mixture of melodrama burletta opera excerpts and popular entertainments requiring resident musical supervision and arrangement. Theatre directors of music routinely composed incidental numbers glees and topical songs for stage performance and subsequent publication bridging the repertory of live performance and domestic music-making. Mister Punchinello! draws upon the well-known Punch and Judy puppet tradition. The text is lyrically straightforward built around the repeated refrain “Oh mamma I must be married to Mister Punchinello” suggesting a number intended for accessible vocal delivery rather than elaborate dramatic structure. The R.A.M. designation appended to Norton’s name—presented without elaboration on the imprint—appears as a professional credential typical of early nineteenth-century music publishing though he very well may have never attended the Royal Academy of Music. A representative survival from the intersection of Philadelphia theatre culture and early American sheet music production. OCLC locates about a dozen copies across multiple entries. unknown
1829réf. List3693Philadelphia 1829. Folio 2 pp. Tear to title page some chips to margins with loss good condition overall. An early Philadelphia theatrical music imprint by I. T. Norton credited on the sheet as “I. T. Norton R.A.M. Composer & Director of the Music to the Chestnut St. Theatre.” Norton served as musical director at the Second Chestnut Street Theatre during the late 1820s a period when the house mounted a mixture of melodrama burletta opera excerpts and popular entertainments requiring resident musical supervision and arrangement. Theatre directors of music routinely composed incidental numbers glees and topical songs for stage performance and subsequent publication bridging the repertory of live performance and domestic music-making. Mister Punchinello! draws upon the well-known Punch and Judy puppet tradition. The text is lyrically straightforward built around the repeated refrain “Oh mamma I must be married to Mister Punchinello” suggesting a number intended for accessible vocal delivery rather than elaborate dramatic structure. The R.A.M. designation appended to Norton’s name—presented without elaboration on the imprint—appears as a professional credential typical of early nineteenth-century music publishing though he very well may have never attended the Royal Academy of Music. A representative survival from the intersection of Philadelphia theatre culture and early American sheet music production. OCLC locates about a dozen copies across multiple entries. unknown books
197112 litografie originali a 3 colori di Antonio Calderara (cm 23,5x10), firmate e datate a matita dall'Artista sul retro. Testo in tedesco di H. Gappmayr ''Farbe, Mab und Licht" ("Misura, colore, luce") Stampato su carta Filicarta. Cm 24x10,5. pp. 36. . Ottimo (Fine). . Prima edizione di 90 esemplari numerati (First edition of 90 numbered copies). .
1858réf. 135295Roma. Tipografia della Rev. Camera Apostolica 1858. (6), 197, (1) pages and 6 (3 folded) plates in steel engraving. Harc cover binding with spine lettering. (A little rubbes. Paper partially spotted. Title with library stamp). 30x22 cm
1937réf. 6631CBZürich, 1937. 8°. 28 S. Orig.-Broschur.
1946réf. 2809BB8 (16) Bände. o.O., 1946-1988. 4°. Mit zahlreichen teils farbigen Abbildungen. 8 Bände goldgeprägter Orig.-Lederband, 2 Broschur, 6 Hefte (Lederbände minim bestossen, Broschur und Hefte teilweise leicht fleckig).
1830réf. 1395AGJ. Brodtmann, o.J. (um 1830). Lithographie (Brustbild) von J. Siebert nach J. Casp. Schinz. Bildgrösse: 24 x 22 cm. Blattgrösse: 46 x 35 cm.
1830réf. 1395AGJ. Brodtmann, o.J. (um 1830). Lithographie (Brustbild) von J. Siebert nach J. Casp. Schinz. Bildgrösse: 24 x 22 cm. Blattgrösse: 46 x 35 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, 1395A_Gr
1937réf. 6631CBZürich, 1937. 8°. 28 S. Orig.-Broschur. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +
1914réf. 1227838(Leipzig, Kgl. Akademie für Graphische Künste und Buchgewerbe), 1914. 2 Bl. Text, 16 Tafeln in Holzschnitt. OKart. (leicht angestaubt).
1946réf. 2809BBo.O., 1946-1988. 4°. Mit zahlreichen teils farbigen Abbildungen. 8 Bände goldgeprägter Orig.-Lederband, 2 Broschur, 6 Hefte (Lederbände minim bestossen, Broschur und Hefte teilweise leicht fleckig). + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden + 8 (16) Bände.
1957réf. KOS03400069Art Publishing 1957. Soft Cover. Fine. KOS03400069 Art Publishing paperback
1894réf. 8050Belle épreuve sur vergé. D'après Nattier. Sanchez et Seydoux 1894-12. en feuille Très bon Paris Gazette des Beaux-Arts 1894 19,2 x 14,5 cm au trait carré. Papier 44 x 30,6 cm.
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réf. 241600 Planche N°36, format 29 x 40 cm (toutes marges). Chromolithographie d'époque avec le timbre à sec de l'Imprimerie Chaix (Lugt 1777c). Notre exemplaire est une des très rares épreuves imprimées sur papier Japon, 2 toutes petites traces de punaisage sur chaque extrémité de la marge supérieure (Our plate is one of the few copies printed on Japanese paper. Original plate in good condition). LES MAITRES DE L'AFFICHE, prestigieuse publication d'art, éditée par l'atelier de lithographie Chaix, dont la parution s'étala de décembre 1895 à novembre 1900. Chaque livraison comportait 4 planches de reproduction en chromolithographie d'une remarquable qualité d'impression des plus belles affiches illustrées des grands artistes français et étrangers (auxquelles il faut ajouter 16 planches de lithographies originales offertes en prime aux abonnés). Lors de l'Exposition universelle de 1889, fut organisée la première exposition rétrospective dévolue à l'affiche, celle-ci devait valider la reconnaissance officielle d'appartenance de l'affiche au monde de l'art. Jules Chéret (1836-1932) y sera sacré '' Maître de l'affiche '', c'est aussi à cette date que Seurat commencera à collectionner les affiches de Chéret. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
1834réf. 251201834 Planche 436 de La Caricature N° 209.La Caricature, 6 novembrebre 1834. Lithographie originale sur Velin blanc. . Delteil 93. épreuve en noir ; lithographie en noir sur velin blanc pli médian vertical,bon tirage bien noir,petite tache brune en marge - Delteil 92 , Prisonnier, le moderne Galilee republicain oubliant l’homme de loi debout devant lui, suit de l’œil la Liberte qui continue sa marche.