OberösterreichAntiquariat.de
3 900 résultats
1850réf. 42094Hildburghausen, Bibliographisches Insitut, um 1850. Bild ca. 9,5 x 14,5 cm, Blatt ca. 14,5 x 22,5 cm. 1 Blatt, verso weiß.
1983réf. 2090202120411631Kamakura Shunjusha 1983. Soft Cover. Fine. Number of books: 1 Kamakura Shunjusha paperback
réf. 8568ville capitale du Royaume de Portugal, située à l’embouchure du Tage 515x345mm et 554x390mm avec marges. Graure du XVIIème siècle en couleurs,rehaussée.Renmargée, quelques déchirures réparées.Dans l’état.Très décorative
2020réf. V0721mug00898Vista Higher Learning 2020. hardcover. New. 0x0x0. New! Includes code if applicable. Thanks for looking. Sorry that we don't offer international shipping on this item. -01x- Vista Higher Learning hardcover
2001réf. V0721mug00895Vista Higher Learning 2020-01-01. hardcover. New. 0x0x0. New! Includes code if applicable. Thanks for looking. Sorry that we don't offer international shipping on this item. -01x- Vista Higher Learning hardcover
1925réf. 2110502150306422Kaizo-sha 1925. Soft Cover. Fine. Volume: 1 Kaizo-sha paperback
1944n.p. Illustrated with 50 full page photographs and descriptions. Decorated title page printed in red and black. Glue stain in gutter of preface. 4to. Original full light blue cloth binding, faded. Hardbound. This picture essay on Literary England appeared in Life Magazine of June 14, 1943. Format by Richard Ellis. Photographs by David E. Scherman and Descriptive Text by Richard Wilcox. ENGLAND BOX 2
1940réf. 2110502150500517Oyamashoten 1940. Soft Cover. Fine. Volume: 1 Oyamashoten paperback
réf. 1405.1aaf1987 feuille 52x67 cm.
réf. 1408.1aafFeuille 36x50 cm.
1882réf. 28302London THE GRAFFIC 1882 broché une Vue lithographique en couleurs, Format : 26.7 x 10.25 inches ( 83 x 31 cm), supplément gratuit du Journal "THE GRAFFIC" du 2 Septembre 1882, Maclure & Macdonald Lithographers to the Queen London,
1860réf. 27508paris F. Sinnett 1860 Une lithographie Originale en couleurs, Format total de la gravure : 45 cm de large par 31,5 cm de haut, format de la gravure seule : 28 cm de large par 19 cm de haut, sur papier crèmez, imprimé en haut au centre : LA FRANCE DE NOS JOURS, imprimé en bas à droite : lith. Becquet Frères , rue des Noyers, 37 r, imprimé en bas à gauche : Asselineau Del. et Lith. et imprimé en bas au centre : N°304 - LE HAVRE - VUE DU THEATRE ET DE LA PLACE LOUIS XVI, sans date (1860)Paris F. Sinnett, Editeur, Galerie Colbert ,
1837réf. 27510Paris Gihaut frères 1837 une lithographie originale en noir, gravure sur papier blanc . Format total : 21,5 centimètres de haut par 30 centimètres de large, sans date (1837) Paris Gihaut frères Editeur,
réf. 1447.1aaffeuille 50x65.5 cm
réf. 1422.1aafFeuille 39x49.5 cm
198146 pages. Colour photos. Printed on glossy stock. Features: Marj Franklin's little people; Home is where you find it; Pert clown for under the tree - project; White Plains - haven of the renowned; Paris - a Day in the Country; Observer's View; Cover Story; Chenille Christmas Tree - Project; Dolls of All Ages; M.E.T.'s Children of the World; A Child's Toy Piano - Project; 'Meet Me At The Fair'; Creating in Canada; Trade Talk; and more. Clean and unmarked with moderate wear. A sound copy. Magazine
réf. catal540 Brochure 22.5x14.5. cm agrafé 22 pages illustrées - Pas d'indication de marque, ni date, ni lieu d'impression ... Il s'agit à priori de SINGER qui a popualrisé ce nouveau type de machine. Etat moyen, poussiéreux, rousseurs et salissures d'usages, dos fendu
réf. catal540 Brochure 22.5x14.5. cm agrafé 22 pages illustrées - Pas d'indication de marque, ni date, ni lieu d'impression ... Il s'agit à priori de SINGER qui a popualrisé ce nouveau type de machine. Etat moyen, poussiéreux, rousseurs et salissures d'usages, dos fendu
2019brossura Lo sguardo costituisce una importante competenza della persona, da sostenere e valorizzare per mobilitare sin dall'infanzia le risorse individuali e rendere ciascuno partecipe di quanto accade intorno: osservatore attento, curioso e vigile nel mentre tesse una molteplicità di transazioni con gli altri e con l'ambiente circostante. Di taglio interdisciplinare, il volume rende conto di un'ampia serie di ricerche, fra le più significative nell'attuale dibattito sulla pedagogia dell'infanzia, testimonia riflessioni ed esperienze di educazione dello sguardo con il contributo di docenti universitari provenienti da otto diversi atenei. L'opera si rivolge in particolare a coloro che compiono ricerche scientifiche in questo ambito, agli educatori e a quanti si prendono cura dell'infanzia.
1996Features: Galicia; West Germany in the late 1950s - Early 1960s - Part 3 - Standard Gauge Private Railways; The Last Surviving Steam Locomotives of the Philippine National Railway; Czech locos in view; Post-War Compounds; The Resita Standard Gauge 2-8-0Ts; Romanian Steam Scene; Early Kitsons supplied to the Bahia and Sao Francisco Railway, Brazil. Small date stamp atop front cover. Moderate wear. Sound copy. Book
1766réf. 18808London and Paris: a Londres ches Wichnyther A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 257 1766. Engraving with original colour. Printed on laid paper. In good condition with mild soiling and creasing. A beautiful Vue d'Optique with strong early colour depicting the old Palace of Westminster where the Lords and Commons met. An interesting late 18th century view of Westminster prior to the great fire of 1834 which brought into being the present Houses of Parliament. Westminster had been a royal residence until Henry VIII left it after a fire to reside at Whitehall. After that the Houses of Parliament met there. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton The English Print 1688-1802 140-141. a Londres ches Wichnyther (?) A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 25 unknown
1766réf. 18808London and Paris: a Londres ches Wichnyther A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 257 1766. Engraving with original colour. Printed on laid paper. In good condition with mild soiling and creasing. A beautiful Vue d'Optique with strong early colour depicting the old Palace of Westminster where the Lords and Commons met. An interesting late 18th century view of Westminster prior to the great fire of 1834 which brought into being the present Houses of Parliament. Westminster had been a royal residence until Henry VIII left it after a fire to reside at Whitehall. After that the Houses of Parliament met there. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton The English Print 1688-1802 140-141. a Londres ches Wichnyther (?) A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 25 unknown books
1760réf. 103861760. Engraving with original colour. Printed on laid paper. In good condition with the exception of some creases within the image. Sides have been remargined with laid paper and bottom edge is trimmed within the platemark. Surface soiling within image. Image size: 11 x 16 1/4 inches. A wonderful "vue d'optique" of Somerset House on the Strand in London. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton The English Print 1688-1802 140-141. unknown
1760réf. 103861760. Engraving with original colour. Printed on laid paper. In good condition with the exception of some creases within the image. Sides have been remargined with laid paper and bottom edge is trimmed within the platemark. Surface soiling within image. Image size: 11 x 16 1/4 inches. A wonderful "vue d'optique" of Somerset House on the Strand in London. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton The English Print 1688-1802 140-141. unknown books
1850réf. 46079Hildburghausen, Bibliographisches Institut, um 1850. Bild ca. 9,5 x 15 cm, Blatt ca. 16 x 22,5 cm. 1 Blatt, verso weiß.
