Asmussen, Svend; Hein, PietMareMagnum
8 188 résultats
197136 pages. Includes piano music, lyrics, chords and illustrations for the following songs: Ars Brevis; The Eternal Twins; Consolation Grook; T.T.T.; Simply Assisting God; Hint and Suggestion; Dream Interpretation; Prayer - to the sun above the clouds; Lilac Time; The Double-Door Effect; Losing Face; The Cure for Exhaustion; Making Sense; What Love is Like; The Central Point; Here It Is; The Road to Wisdom; Do Remember. Gift greetings inside front cover otherwise unmarked with moderate wear. A sound copy. Book
1995réf. 530663Torino: Giulio Einaudi Editore 1995. Hardcover with unclipped dust jacket and slipcase. Text in Italian. Light edgewar to jacket and sunning to jacket spine. Light shelfwear to slipcase. Pages excellent and contents clean throughout. AD. Hardcover. Very Good. Used. Giulio Einaudi Editore Hardcover
2019réf. 230163New Haven - London: Yale University Press 2019. Rilegato tela con tavola fotografica applicata al piatto anteriore original full cloth with photographic inlay to front cover. Perfetto Mint. Con contributi di Keith F. Davis. Introduzione di Julian Zugazagoitia. Ampiamente illustrato con riproduzioni a colori dei dagherrotipi con le loro cornici originali. 8vo 28x28 cm. pp. 168. Perfetto Mint. Prima edizione First Edition. A fresh comprehensive and critical look at the California gold rush through the lens of the daguerreotype camera. The California gold rush was the first major event in American history to be documented in depth by photography. This fascinating volume offers a fresh comprehensive and critical look at the people places and culture of that historical episode as seen through daguerreotypes and ambrotypes of the era. After gold was discovered at Sutter's Mill in 1848 thousands made the journey to California including daguerreotypists who established studios in cities and towns and ventured into the gold fields in specially outfitted photographic wagons. Their images including portraits views of cities and gold towns and miners at work in the field provide an extraordinary glimpse into the evolution of mining culture and technology the variety of nationalities and races involved in the mining industry and the growth of cities such as San Francisco and Sacramento. Including numerous images published here for the first time this book provides an extraordinary glimpse into the transformation of the American West. Uno sguardo nuovo completo e critico sulla corsa all'oro in California attraverso l'obiettivo della macchina fotografica per dagherrotipi La corsa all'oro in California è stato il primo grande evento della storia americana a essere documentato in modo approfondito dalla fotografia. Questo affascinante volume offre uno sguardo fresco completo e critico sulle persone i luoghi e la cultura di quell'episodio storico visti attraverso i dagherrotipi e gli ambrotipi dell'epoca. Dopo la scoperta dell'oro a Sutter's Mill nel 1848 migliaia di persone si misero in viaggio verso la California compresi i dagherrotipisti che aprirono studi in città e paesi e si avventurarono nei campi d'oro con carri fotografici appositamente attrezzati. Le loro immagini tra cui ritratti vedute di città e paesi auriferi e minatori al lavoro sul campo offrono uno straordinario sguardo sull'evoluzione della cultura e della tecnologia mineraria sulla varietà di nazionalità e razze coinvolte nell'industria mineraria e sulla crescita di città come San Francisco e Sacramento. Con numerose immagini pubblicate per la prima volta questo libro offre uno sguardo straordinario sulla trasformazione dell'Ovest americano. Yale University Press, hardcover
réf. 65799Année 1977 - 1er trimestre - Bulletin n° 2 - in-4 broché - revue illustrée - 36 pages
1931réf. 123250Milano Officine Grafiche Schor 1931. In 4° mezza tela editor. con titoli al dorso e piatti a stampa illustrati Pp. 105 3 n.n. 108 tavole in nero descritte a piede e con retro bianco pp. 8 n.n. Tutto il testo è in cornice floreale non ripetuta dai disegni di T. Vieroven. Buon esemplare hardcover
réf. 15203Avignon, Aubanel, s.d. (fin XIXème), 1 1 cahier, petite coupure sans manque. in-8 de 3 pp. ;
1969réf. 224399Roma: Lerici editore 1969. Hardcover. 181p. text in Italian very good first Italian edition thus in limp red cloth boards in lightly-used red cloth slipcase with white cover labels affixed front and rear. Poeti europei #28. Poetry by the Guatemalan Magic Realist novelist and ambassador to France who was awarded the Lenin and the Nobel Peace Prize. Lerici editore hardcover books
1965réf. 2143427Napoli (Neapel): Libreria Scientifica Editrice 1965. XLI, (1), 196, (2) Seiten. Gr. 8° (22,5-25 cm) Orig.-Broschur. [Softcover / Paperback].
réf. 0244641285.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 19973Milan, 1998 octavo 550 p., 173 planches N/B, broché. 21 x 30
1949In 16 (cm 13,5 x 18,5), pp. 345 + (3). Cartonatura editoriale con sovraccoperta. La sovraccoperta presenta mancanze in particolare al piatto anteriore. Interessante manuale con nozioni per la cura del viso e ricette per la preparazione di creme, maschere, unguenti.
1949réf. 7028Auxerre imprimerie moderne 1949 Auxerre 1949 Plaquette in12, brochée, couverture imprimée, 24pp.
1826In-8 p., mz. pelle coeva (lievi abras.), fregi e tit. oro al dorso, pp. XVI,562, con 1 tav. inc. f.t. Manca il ritratto dell’A. Fioriture e/o arrossature intercalate nel t. Discreto esemplare.
1849réf. 42915New York: John James Audubon 1849. First edition hand-colored lithograph by John T. Bowen of Philadelphia after John James Audubon. An iconic image of Western Americana from the folio first edition of Audubon's "Quadrupeds of North America" the greatest work of natural history illustration produced in America during the nineteenth century: "As long as our civilization lasts America will be in debt to this genius." Peterson This fine plate is from the folio edition of Audubon's The Viviparous Quadrupeds of North America which was produced entirely in the United States. The work was Audubon's last and by 1846 he had to hand over the drawing of the final fifty plates to his sons John Woodhouse and Victor Audubon. The production of the Quadrupeds was begun by Audubon and his sons at about the same time as the commercially-successful octavo edition of The Birds of America. Unlike the double-elephant folio the Quadrupeds was produced entirely in the United States. Reese notes that "By 1843 the Audubon family business was a well-oiled machine involving John James his two sons and various in-laws and friends. The octavo Birds was still in production when Bowen began to produce the plates for the folio edition of the Quadrupeds the largest successful color-plate book project of 19th-century America. It took the family five years to publish 150 plates in thirty parts. The massive project was a commercial success thanks to the close management of Victor. There were about three hundred subscribers." Reese Like Birds of America the Viviparous Quadrupeds was intended to be a comprehensive visual catalog of North America animalia with Audubon's focus here shifting from birds to four-legged land mammals. Accompanying each image was correlating didactic text written primarily by Bachman that informed the reader of the animal's habits diet habitat and gestational period. Totaling 150 prints the project was rushed to completion as Audubon's health declined. Emerging in the shadow of its acclaimed predecessor Birds of America the Viviparous Quadrupeds has not received the adequate attention nor recognition it so richly deserves. This image is of a family of American buffalo the most iconic animal indigenous to North America whose presence was integral for Native American life and whose near-extinction spurred on the conservation movement in the US. The buffalo is today the state animal of Kansas Oklahoma and Wyoming. Bennett p.5. Peterson Birds of America passim. Reese Stamped with a National Character 36. Sabin 2367. Wood p.209. John James Audubon unknown
1849réf. 4369New York:: V.G. Audubon 1849-54. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo 10.5 x 7 inches. Drawn from nature by John Audubon drawn on stone by William E. Hitchcock and lithographed printed and colored by JT Bowen Philadelphia. Accompanied by the original text written by the Reverend John Bachman DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment was a collaborative effort between the premier nineteenth century American Ornithologist Naturalist Artist and Frontiersman John James Audubon 1785-1851 his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape the team traveled westward from Audubon's home in Mill Grove Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental the journey is recognized in the pathos of the compositions. However the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review a Whig journal heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors artists and artisans of which are our own citizens the Bible of Nature!" John James Audubon in the West. New York: Henry H. Abrams 2000. Sabin 2368. Wood 208. Matted in Ivory Rag Board 12 x 16 inches. V.G. Audubon, unknown
1849réf. 6425New York:: V.G. Audubon 1849-54. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo 10.5 x 7 inches. Drawn from nature by John Audubon drawn on stone by William E. Hitchcock and lithographed printed and colored by JT Bowen Philadelphia. Accompanied by the original text written by the Reverend John Bachman DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment was a collaborative effort between the premier nineteenth century American Ornithologist Naturalist Artist and Frontiersman John James Audubon 1785-1851 his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape the team traveled westward from Audubon's home in Mill Grove Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental the journey is recognized in the pathos of the compositions. However the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review a Whig journal heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors artists and artisans of which are our own citizens the Bible of Nature!" John James Audubon in the West. New York: Henry H. Abrams 2000. Sabin 2368. Wood 208. Archivally matted & framed V.G. Audubon, unknown
1849réf. 7317New York:: V.G. Audubon 1849-54. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo 10.5 x 7 inches. Drawn from nature by John Audubon drawn on stone by William E. Hitchcock and lithographed printed and colored by JT Bowen Philadelphia. Accompanied by the original text written by the Reverend John Bachman DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment was a collaborative effort between the premier nineteenth century American Ornithologist Naturalist Artist and Frontiersman John James Audubon 1785-1851 his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape the team traveled westward from Audubon's home in Mill Grove Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental the journey is recognized in the pathos of the compositions. However the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review a Whig journal heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors artists and artisans of which are our own citizens the Bible of Nature!" John James Audubon in the West. New York: Henry H. Abrams 2000. Sabin 2368. Wood 208. Archivally matted & framed V.G. Audubon, unknown
1849réf. 4387New York:: V.G. Audubon 1849-54. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo 10.5 x 7 inches. Drawn from nature by John Audubon drawn on stone by William E. Hitchcock and lithographed printed and colored by JT Bowen Philadelphia. Accompanied by the original text written by the Reverend John Bachman DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment was a collaborative effort between the premier nineteenth century American Ornithologist Naturalist Artist and Frontiersman John James Audubon 1785-1851 his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape the team traveled westward from Audubon's home in Mill Grove Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental the journey is recognized in the pathos of the compositions. However the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review a Whig journal heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors artists and artisans of which are our own citizens the Bible of Nature!" John James Audubon in the West. New York: Henry H. Abrams 2000. Sabin 2368. Wood 208. Matted in Ivory Rag Board 12 x 16 inches. V.G. Audubon, unknown
1849réf. 4396New York:: V.G. Audubon 1849-54. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo 10.5 x 7 inches. Drawn from nature by John Audubon drawn on stone by William E. Hitchcock and lithographed printed and colored by JT Bowen Philadelphia. Accompanied by the original text written by the Reverend John Bachman DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment was a collaborative effort between the premier nineteenth century American Ornithologist Naturalist Artist and Frontiersman John James Audubon 1785-1851 his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape the team traveled westward from Audubon's home in Mill Grove Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental the journey is recognized in the pathos of the compositions. However the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review a Whig journal heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors artists and artisans of which are our own citizens the Bible of Nature!" John James Audubon in the West. New York: Henry H. Abrams 2000. Sabin 2368. Wood 208. Matted in Ivory Rag Board 12 x 16 inches. V.G. Audubon, unknown
1849réf. 42915New York: John James Audubon 1849. First edition hand-colored lithograph by John T. Bowen of Philadelphia after John James Audubon. An iconic image of Western Americana from the folio first edition of Audubon's "Quadrupeds of North America" the greatest work of natural history illustration produced in America during the nineteenth century: "As long as our civilization lasts America will be in debt to this genius." Peterson This fine plate is from the folio edition of Audubon's The Viviparous Quadrupeds of North America which was produced entirely in the United States. The work was Audubon's last and by 1846 he had to hand over the drawing of the final fifty plates to his sons John Woodhouse and Victor Audubon. The production of the Quadrupeds was begun by Audubon and his sons at about the same time as the commercially-successful octavo edition of The Birds of America. Unlike the double-elephant folio the Quadrupeds was produced entirely in the United States. Reese notes that "By 1843 the Audubon family business was a well-oiled machine involving John James his two sons and various in-laws and friends. The octavo Birds was still in production when Bowen began to produce the plates for the folio edition of the Quadrupeds the largest successful color-plate book project of 19th-century America. It took the family five years to publish 150 plates in thirty parts. The massive project was a commercial success thanks to the close management of Victor. There were about three hundred subscribers." Reese Like Birds of America the Viviparous Quadrupeds was intended to be a comprehensive visual catalog of North America animalia with Audubon's focus here shifting from birds to four-legged land mammals. Accompanying each image was correlating didactic text written primarily by Bachman that informed the reader of the animal's habits diet habitat and gestational period. Totaling 150 prints the project was rushed to completion as Audubon's health declined. Emerging in the shadow of its acclaimed predecessor Birds of America the Viviparous Quadrupeds has not received the adequate attention nor recognition it so richly deserves. This image is of a family of American buffalo the most iconic animal indigenous to North America whose presence was integral for Native American life and whose near-extinction spurred on the conservation movement in the US. The buffalo is today the state animal of Kansas Oklahoma and Wyoming. Bennett p.5. Peterson Birds of America passim. Reese Stamped with a National Character 36. Sabin 2367. Wood p.209. John James Audubon unknown books
réf. DADAX0268033218New unknown
1737réf. 43574Ingolstadt, Johann Andreas de la Haye (gedruckt von Maria Magdalena Riedlin [Riedl] in München), 1737. 8°. 32 Bll., 362 S., 18 Bll.; 7 Bll., 318 S., 23 Bll.; 6 Bll., 283 (1) S., 20 Bll.; 7 Bll., 432 S., 20 Bll.; 7 Bll., 413 (1) S., 25 Bll., Ldr.-Bde. d. Zt. a. 5 Bünden m. reicher Rückenverg. u. je 2 goldgepr. Rückenschildern.
réf. ria9783368109752_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; Reimpresión del original primera publicación en 1804. hardcover
réf. 3368109758.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1960In-8° gr. pp. Xv-562, bross. edit. con tracce d'uso.
