69,061 results
ref. 201305386Paris, La mauvaise chance le portulan, 1947 ; in-12, 248 pp., br.
ref. 80048Sans lieu, Les Amis du Club du Livre Chrétien [Robert Morel], 1960, in 8° relié pleine toile violette d'après la maquette d'Odette Ducarre, 314 pages.
ref. 201807793Paris, Editions du seuil, 1960 ; in-8, 219 pp., cartonnage de l'éditeur.
ref. 201315128Paris, Ediitons du seuil, 1960 ; in-8, 219 pp., br.
ref. 202100418Paris, Stock, 2020 ; in-8, 332 pp., br. Avec jaquette.
ref. 201801206Paris, Les editions de minuit , 1981 ; in-8, 477 pp., br. Jauni, edition originale.
ref. 201509595Paris, Flammarion, 2007 ; in-8, 419 pp., br.
2005ref. C87326Guildford: Genesis 2005. First Edition. Hardback. Hardcover Hardcover. Very Good. First Edition. Hardback. Folio 52 x 34 x 11cms.416 pages. Full black leather with embroidered eagle patch and silkscreened page edging. The hand crafted solander box features a full colour silkscreen image of the 'Starship' Stones Tour Plane and silver stars. Images of the Stones appear in the aircraft's cut away windows lenticular. 141 of 235 copies de luxe edition signed by Rudge and Sykes in the blue printed draw string bag. - a collection of every piece of tour memorabilia imaginable - including backstage passes and even hotel room keys and a signed numbered print of Mick Jagger.The tour 'Access Backstage' silk armband serves as a pull ribbon. As the tour's official chronicler it was access all areas for Christopher Simon Sykes. Massive heavy and fascinating 27000 word narrative to accompany his many hundreds of photographs. Running throughout the book there are also tour schedules set lists budgets daily newsletters from tour manager Peter 'Commander' Rudge personnel lists sight-seeing tickets night club passes Rolling Stone magazine articles letters home and postcards - the perfect accompaniment to the diary's words and photographs. An enormous archive of largely unseen photographs a wonderfully descriptive diary etc. Ê ISBN: Ê0904351955 Book fine. Slight wear at spine of slip- case toe bag slightly faded. Genesis hardcover
1949ref. 350687Rio de Janeiro: Casa de Rui Barbosa 1949. 248p. text in French inscribed in French to Germain Bazin and signed by Simon folding frontispiece Message from Claudel in facsimile handwriting followed by French translation Frenchfold cream wraps separating yet intact stamped Library Discard on a bookplate from York University Library. Bazin was a respected French historian and curator at the Louvre. Casa de Rui Barbosa unknown books
1828ref. 26334Nantes 1828 1 document ORIGINAL, manuscrit à l'encre brune de 2 pages, sur papier velin crème ligné filigrané "raisin", format : 24,5 x 19,5 cm, MÉMOIRE ACQUITTÉ DE SOEUR ADELAÏDE RENOU DU PENSIONNAT DES URSULINES (RUE SAINT CLÉMENT - NANTES), DATÉE DU 3 MARS 1828, ADRESSÉ A MME BASCHER LENFANT [MARIE EMILIE LENFANT DE LANZIL FILLE D'UNE DEMOISELLE LEMOYNE DE BEAUMARCHAIS , MARIÉE A PIERRE-PAUL DE BASCHER - LE GRAND PLESSIX - MOUZILLON et CHATEAU DE BEAUMARCHAIS - BRÉTIGNOLLES-SUR-MER]POUR REMBOURSEMENT D'UNE AVANCE SUR DES ACHATS NÉCESSAIRES DE SCOLARITÉ OCCASIONNÉS POUR SES FILLES ÉMILIE ET ADÈLE(MARIE ADELAÏDE) + JOINT AVEC UN RECU DE PAIEMENT DE LA PENSION DONNÉ A MR BACHER PAR ROSE SIMON SUPÉRIEURE DU PENSIONNAT DES URSULINES DE NANTES, (document original) format : 16 x 10 cm, manuscrit à l'encre brune sur papier velin ligné, signé Soeur Rose SIMON supérieure, Nantes, le 4 mars 1828,
2002ref. LFA00d9cRevue de la Société pour la Protection des Paysages et de l'Esthétique de la France : 90 pages, format 210 x 160 mm, illustrée
ref. 111700A Paris, Chez Jean Jombert, 1722, 1 volume in-12 de 95x165 mm environ, (1) f. blanc, (18) ff. (page de titre, épître, discours préliminaire), 375 pages, (8) ff. (table, errata, privilège), (1) f. blanc. Pleine basane brune, dos à quatre nerfs portant titres dorés sur pièce de titre bordeaux, orné de caissons à motifs dorés, roulette dorée sur les coupes, tranches rouges. Ex-libris sur le premier contreplat. Reliure modeste mais solide (cuir craquelé et frotté, coins et coupes émoussés, coiffe supérieure manquante), fréquentes erreurs de pagination (sans manque), des rousseurs par endroits.
ref. 200820035Paris, Les humanoïdes associés, 1984 ; in-4, 118 pp., cartonnage de l'éditeur. Eo usure de la couverture.
ref. 13092P., Albin Michel, 1926, in 12 broché, VII-323 pages
ref. 52281P., Ollendorff, 1906, in 8° broché, VII-323 pages ; couverture défraichie ; premier plat détaché.
ref. 7904Paris, Testard, 1890, in 12, relié demi percoline (modeste), VII-293 pages
ref. 201220800Paris, Seuil, 1969 ; in-8, 215 pp., br.
ref. 201300333Paris, Serie noire suspense gallimard, 1965 ; in-12, 186 pp., br. N°917.
1595ref. 98421595 basane, dos à n. in-8, (8ff.), 324ff., (7ff.), s.n., s.l., 1595,
ref. 61445London: John and Josiah Boydell 1791. 1803. Original copper engraving 44 x 60 cm overall sheet 54 x 66 cm. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1791. [1803]. unknown
2011ref. 3097BB2011. First Edition. New York Palgrave Macmillan 2011. 145 x 215 cm. X 182 pages. Original Hardcover. Very good condition with minor signs of external wear. Literatures Cultures and the Environment. Ecocriticism is the study of literature and the environment from an interdisciplinary point of view where literature scholars analyze texts that illustrate environmental concerns and examine the various ways literature treats the subject of nature. Some ecocritics brainstorm possible solutions for the correction of the contemporary environmental situation though not all ecocritics agree on the purpose methodology or scope of ecocriticism. In the United States ecocriticism is often associated with the Association for the Study of Literature and Environment ASLE1 which hosts biennial meetings for scholars who deal with environmental matters in literature. ASLE publishes a journalInterdisciplinary Studies in Literature and Environment ISLEin which current international scholarship can be found. Ecocriticism is an intentionally broad approach that is known by a number of other designations including "green cultural studies" "ecopoetics" and "environmental literary criticism" and is often informed by other fields such as ecology sustainable design biopolitics environmental history environmentalism and social ecology among others. Wikipedia hardcover
ref. 61417London: John and Josiah Boydell 1795 1803. Original copper engraving 60 x 44 cm overall sheet 69 x 55 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1795 [1803]. unknown
ref. 61483London: John and Josiah Boydell 1790. 1803. Original copper engraving 44 x 60 cm overall sheet 55 x 68.5 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1790. [1803]. unknown
ref. 61451London: John and Josiah Boydell 1795. 1803. Original copper engraving 60 x 44 cm overall sheet 68.5 x 55 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1795. [1803]. unknown
ref. 61487London: John and Josiah Boydell 1793. 1803. Original copper engraving c. 60 x 44 cm overall sheet c. 68.5 x 55 cm. Tissue guard to verso. From "A Collection of Prints. Illustrating the Dramatic Works of Shakespeare." published by Boydell London 1803. In 1789 the publisher John Boydell opened the Shakespeare Gallery an exhibition space in London's Pall Mall showcasing paintings that exclusively represented scenes from Shakespeare's plays. The Gallery was a bid to revive 'history painting' the practice of depicting scenes from the Bible mythology or the classics in contemporary British art a genre thought to be of great public benefit because of its morally instructive messages. What better unifying theme for such a project than the works of Shakespeare which had become so popular and so integral to British identity by the mid-18th century The Gallery opened in May 1789 with 34 canvases by 18 British artists. By the next year there were 55 paintings and in 1796 the total was 84 along with dozens of 'Small Pictures'. Once the exhibition was mounted reproductive engravings of the paintings produced by an in-house team of 46 printmakers were available to purchase either as a large portfolio of 90 prints or as a luxurious illustrated edition of the plays. The British Library London: John and Josiah Boydell, 1793. [1803]. unknown