1.314 resultados
2001ref. 215552001. Softcover. VG. Illustrated wraps. 48 pp. 7 bw 10 color plates. 8 page esay written by Clarence Burton Sheffield Jr. and Leo G. Mazow. Catalogue lists 23 works. Bibliography. paperback books
1987ref. LFA-126745494Un ouvrage de 371 pages, format 140 x 205 mm, illustré d'une carte, broché couverture couleurs, publié en 1987, Editions NRF - Gallimard, collection "Au Vif du Sujet"
Firenze, 1808 circa. Incisione in rame all’acquatinta, cm 42,5 x 54 (alla lastra), 55 x 76,5 (il foglio). Disegnata e incisa da Angiolo Angiolini, con dedica alla Nobile Sig.ra Marchesa Giuseppa Fondatori nata Peruzzi. Il Monte Libano appartiene alla catena montuosa che si estende per l'intero Libano, parallelemanete alla costa mediterranea. Bella veduta, animata da personaggi e animali in primo piano. Non comune. Minimo foxing marginale, alcune lievi ondulazioni della carta, peraltro buon esemplare.
1985All from the personal library of William P. Anderson. Vol. III bears his ownership signature; Vol. II is inscribed to him by Khalifeh. Light browning, scuffingand creasing along edges to wraps. Small pen mark to front wrap of Vol. 3. Vol 1 has tiny stain to front wrap. ; 1985-88. 4 vols. 707pp, 436pp, 209pp, 325pp, illustrated. ; 4 Volume Set. Publications De L'Université Libanaise. Section Des Études Archéologiques II; 1677 pages
PARIS, Fayard - 1997 - In-8 - Broché - Couverture illustrée en couleurs - Carte, notes, chronologie, bibliographie, index - 528 pages - Très propre, très bon exemplaire
1940ref. 11251940 BEYROUTH LE JOUR 1940- IN8 br.couv.ill.-196p.ill.in et ht -envoi aut.aut.
ref. QWA-12129chez l'auteur, 1968, in-8 br. (17 x 24), 158 p., tiré à 2000 exemplaires numérotés, préface de Charles Helou, introduction de René Maheu, un portrait, sous papier cristal, très bon état.
ref. ORD-293Avec 70 dessins de l'auteur. 2e édition. Beyrouth. Le Jour 1940. In-8 (155 x 198mm) broché, couverture crème imprimée en noir et illustrée en orange et vert, 196 pages, portrait de l'auteur et fac-similés d'une lettre du général Gouraud et d'une autre de H. G. Wells, charmantes illustrations en noir et en couleurs dans le texte. Petits défauts mais bon exemplaire de ce charmant ouvrage.
1997ref. 30216Fayard, 1997, gr. in-8°, 528 pp, une carte, chronologie, biblio, index, reliure souple illustrée de l'éditeur, bon état
ref. 53078Fayard 2004, grand et fort in-8 couverture souple illustrée de l'éditeur, 1009 p. (haut du dos légèrement heurté, sinon très bon exemplaire) Carte, notes, chronologie, bibliographie et index. Une vraie somme historique, de l'indépendance à la fin de l'effroyable guerre civile.
1997ref. 130721Fayard, coll. « Biographies Historiques » 1997 In-8 cartonnage éditeur souple 23,5 cm sur 15,3. 530 pages. Bon état d’occasion.
ref. 10558PARIS, Fayard - 1997 - In-8 - Broché - Couverture illustrée en couleurs - Carte, notes, chronologie, bibliographie, index - 528 pages - Très propre, très bon exemplaire
1997ref. 179535Fayard Fayard, 1997. In-8 relié cartonnage souple éditeur, 528 pages. Très bon état
1955ref. 93278-C26221er fascicule, Textes d'étude, 2e fascicule, Vocabulaire, 3e fascicule, Grammaire. 180 pages en tout.
1929viii, 176 pages. Several black and white plates. 19 x 14 cm. "The worldwide fame of the ruins of Baalbek draws crowds of admiring tourists yearly, and standing before these wonderful monuments, strangers feel overwhelmed by their beauty and by all the historical and architectural questions they evoke. No contemporary historian having ever tried to give satisfactory answers, either as to the origin, or date, I have tried to do so and thus render a service to my country and its visitors." - Preface to the first edition. Unmarked with average wear. Binding intact. Contents tanned with age. A sound vintage copy of this informative work. Book
1890ref. 24339Beyrouth Imprimerie des Belles-Lettres 1890 in-12 broché, couverture défraîchie, second plat détachée
1921ref. 244681921 Beyrouth, Imprimerie Alfawaïd, 1921, in 12 broché, VIII-161 pages ; illustrations hors-texte ; couverture très légèrement fanée.
1641In-8°, (24cc), 400pp, testo greco e latino a fronte su colonne, frontespizio con marca tipografica (una sirena), iniziali e finalini xilografici, legatura in piena pergamena rigida coeva, titolo su tassello al dorso. Dedica in greco a Urbano VIII. In-8°, (24cc), 400pp, Latin and Greek two-column text, title page with printer’s mark (a siren), wood engraved initials and tails, full vellum contemporary binding, title on label at the spine.
2004As New As New English Paperback. Pbo. Dust wrapper. Mint. 4to. (30 x 24 cm). In English and Italian. 45, [1] p. Color ills. For Ali Hassoun, born in Saïda (Lebanon) in 1964, but living in Italy, art is inevitably a borderland, a fertile ridge where two different cultures meet: the traditional, spiritual culture of Islam and the dynamic, evolutionary culture of the West. In this meeting, East and West, North and South are only apparently geographical coordinates. They are rather topical places in the mind, spiritual directions which pass the baton to one another, like the perfect laps in a trip touching in turn upon the extreme opposites of ascension: the zenith and the nadir, Alpha and Omega, vile lead and alchemic gold, the terrestrial world and the imagination, the spirit and the body, and all the possible variants on a polarity which is always merely symbolic. In the artist's works the East and the West continually change sides, alluding to ambiguous meanings, now clear and now hidden. Ali Hassoun's iconography is constructed by stealing from contemporary visual culture images of a variegated humanity intent on the humble occupations of a daily life that has not yet been brutalised by the signs of the technological era. Like a computer hacker, but employing techniques which are entirely manual, Ali metaphorically "copies and pastes" onto his canvas photographs of people taken from the pages of a book or a magazine. He paints portraits of men and women, changing them using an ancient tool which contains within itself the balsamic germ of transfiguration. And yet, in his painting, precise and detailed to the point of verging on hyper-realism, there is nothing of the documentary. Like Emilio Salgari, Hassoun does not need to plough the waves or travel the caravan routes to come up with his visions. His travels are immobile, typical of a multimedia age such as our own, when information abounds but knowledge is rare. An age in which painting has come back into fashion - if it had ever gone out of fashion - but feeling the influence of the clarity of liquid crystal, of the pervasive vocabulary of the big plasma screen, of the hi-tech aesthetic born out of cyber imagery and the virtual settings of videogames. Painting containing gelid icons, the heroines of a new cybernetic sensuality, portraits of aidoru and computer alter egos, replicants and cyborgs, singing the fictitious myth of a trans-human future. In Italy, Ali Hassoun's painting is a return to Vasari's Bella Maniera, the full perfection of the great lesson of the Renaissance: painting with no mediation, no alibis and no tricks. In his works, Arab shepherds, students of the Koranic schools, cabalists, old wise men and African women dressed in fabrics of gaudy colours move about in a scenario in which landscape notation is abolished, swept away by an artificial background, a citation of great masterpieces of Art History, from the Michelangelo of the Sistine Chapel to Picasso's Guernica, from the fourteenth-century Sienese painters - Simone Martini and the Lorenzettis - to Capogrossi. The Levantine faces and statuesque bodies of his African women, the elegance and grace of his Indian maids are surrounded not by a desert, by a marketplace, by the interior of a mosque or a zawiyya nor by a minaret or a medina, but by a world of spirits, of platonic psychopomps floating suspended between Earth and Sky. In his most recent works Ali Hassoun has moved eastward. His women are now wearing the colours of India. They are wheat grinders, water bearers, even cabalists, intent on drawing a five-pointed star in the earth, hiding the secret of the golden section. The birth of a primitive femininity is everywhere, blended with the mystics of the elements - Air, Water, Earth and Fire - transfused in the grammar of light as in the use of clayey colours, in the transparency of ethereal figures and in the symbolism of water. Once again there are images of the "well of science" from which to draw the water of wisdom
1959ref. 127184Couverture souple. Broché. 128 pages.
1963ref. 133011Couverture souple. Broché. 128 pages.
1985ref. 1781985 broché in-octavo tellière (paperback), dos blanc (white spine), couverture orange (orange cover), illustrations in et hors-texte (in text and full page engraving), 128 pages, 1985 Paris Presse Universitaires de France,
ref. 63458CNRS, Moyen-Orient, 2000, 336 pp., broché, tampons en première et troisième page, bon état
Les Escales, 2018, 387 pp., broché, gommette sur la quatrième de couverture, état très correct.
ref. 54728Les Escales, 2018, 387 pp., broché, gommette sur la quatrième de couverture, état très correct.
