VENEZIALivre Rare Book
35 686 résultats
réf. 8380Vista panoramica di Venezia.Gouache sur trait gravé,avec rehauts de gomme.L’auteur serait P. MAJOOCHI,et la gravure de Francesco CITTERIO. Chez Vallardi éditeur à Milan,vers 1850.1075x425mm y compris son cadre doré, d’époque.880x230mm hors marges. Très bon état.Le cadre n’a jamais été démonté,ce qui explique ces quelques traces de poussière sur le verre. Coloris frais. La vue de Venise est centrée sur la piazza San Marco, la tour du Campanile bissectrice de la composition avec le port sur la droite. Antonio VALLARDI est une maison d’édition italienne basée à Milan. Fondée en 1750 par Francesco Cesar VALLARDI
1961réf. 2080302106809091Nagasaki University School of Medicine 1961. Soft Cover. Fine. Number of books: 2 Nagasaki University School of Medicine paperback
1650réf. 2091202133203518Suharaya Mohei 1650. Soft Cover. Fine. Volume: 1 Suharaya Mohei paperback
2012réf. 2081502111905134old books in shanghai 2012. Soft Cover. Fine. The book is in fine condition. old books in shanghai paperback
1932Acquaforte, 1932, esemplare unico terminato ad acquarello. Lastra 130x220 mm. Firmata e datata in lastra 1932. Titolo autografo a matita in basso a sinistra dove riportata l’iscrizione “unica a colori”. Firma a matita in basso a destra “Luigi Bartolini”. Un esemplare unico della stampa viene descritto in diversi repertori (vedi bibliografia sotto) e riprodotto ne Gli esemplari unici o rari (Casini editore, Roma 1952). Il presente esemplare sarebbe dunque l’unico terminato a colori da Bartolini. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Magnifica prova, con margini, in ottime condizioni. Il presente esemplare proviene dalla mostra di Bartolini presso la Galleria d’Arte Moderna Viotti di Torino, tenutasi il 22 febbraio 1969. Viene allegata la targhetta della galleria. Etching, 1932, unique example finished in watercolor. 130x220 mm plate. Signed and dated on plate 1932. Autograph title in pencil at lower left where inscribed "unique in color". Signature in pencil at lower right "Luigi Bartolini". A unique example of the print is described in several repertories and is reproduced in (Casini editore, Roma 1952). The present example would therefore be the only one finished in color by Bartolini. Magnificent proof, with margins, in excellent condition. The present example comes from Bartolini's exhibition at the Galleria d'Arte Moderna Viotti in Turin, on February 22, 1969. The gallery plaque is enclosed. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolin... Gli esemplari unici o rari, Casini editore, Roma 1952; C.A. Petrucci, Le incisioni di Luigi Bartolini, Calcografia Nazionale Roma (1951), n. 379 (e.u.); G. Ronci, Le incisioni di Luigi Bartolini, Calcografia Nazionale Roma (1962), n. 379 (e.u.); C. Barsan
1889réf. E00911889. Titelblatt von J. Berjon in Tinte signiert / titre signé en encre par Berjon. 11 Lagen starkes Papier mit Kordelbindung. Lederband der Zeit mit goldgeprägtem Deckel- u. Rückentitel. Zustand 1.
1600Bulino, 1600 circa, firmata in lastra nell’immagine, in basso a destra: “Joannes Muller. fecit”, at left: “Harmannus Muller. excud. Amstelodamj”. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame ed applicata su antico supporto del XIX secolo, tracce di usura nella parte inferiore, nel complesso in buono stato di conservazione. Questa incisione, anche se per ragioni stilistiche strettamente legata a Spranger, dev’essere stata disegnata dallo stesso Muller. Il disegno di questa stampa, firmato "JMuller fecit", è attribuito da Bartsch (III, p. 284, n. 64) a Spranger. Obheruber (cfr. Die Stilistiche Entwicklung im Werk Bartholomaeus Spranger, p. 294 n. 93), ha evidenziato l'inesattezza di quest’attribuzione. Bibliografia Bartsch, III.286.64; The New Hollstein, II, p. p.177, 64 II/IV; Filedt Kok (Print Quarterly, september 1994) pp. 250 -251; Hollstein, XIV, 10. Engraving, 1600 circa, signed below in the image, at right: “Joannes Muller. fecit”; at left “Harmannus Muller. excud. Amstelodamj”. A fine impression, printed with tone on contemporary laid paper, trimmed to the borderline and pasted on 19th Century mounting, good condition. This print, though stylistically closely related to Spranger, must have been designed by Muller himself. The drawing for this print, signed “JMuller fecit”, is attributed by Bartsch (III, p. 284, n. 64) to Spranger. Obheruber (cf. Die Stilistiche Entwicklung im Werk Bartholomaeus Spranger, p. 294 n. 93), has pointed out the inaccuracy of the attribution to Spranger. Literature Bartsch, III.286.64; The New Hollstein, II, p. p.177, 64 II/IV; Filedt Kok (Print Quarterly, september 1994) pp. 250 -251; Hollstein, XIV, 10.
2021réf. 2081502111905282Chinese book office 2021. Soft Cover. Fine. The book is in fine condition. Chinese book office paperback
réf. 98166101Japan n.d. ca 1830. A superb scroll painting on silk 39.5 cm. wide by 233 cm. long painting size: 29.5 x 185cm. fine mounting pale silk chrysanthemum patterned border flawless flawless excellent pastel colors excellent condition.RARE! THIS IS A GREAT AND STUNNINGLY BEAUTIFUL HAND-PAINTED SCROLL THE SUBJECT: Kato Kiyomasa 1562-1611 was the son of Kiyotada a relative of Hideyoshi Toyotomi and served him and distinguished himself as one of the seven most famous warriors of that time by his heroic acts at the Battle of Shizugadatake. . During the invasion of Korea he followed Yukinaga Konishi -1600 to Pusan and on to Seoul in 1592 where he fought so fiercely that the Koreans named him "Devil Kiyomasa." Yukinaga was a Christian warrior & retainer of Hideie Ukita and was appointed Lord of Settsu by Hideyoshi Toyotomi. . Hideyoshi appointed these two to spearhead the Korean invasion with Yukinaga the commander. The plan was to launch waves of army corps by ship across the 56 mile wide Tsushima straits to Pusan. Some 300000 fighting men a truly serious force embarked. The first force of 9200 Samurai armed with matchlocks bows and swords set out. Upon landing they rapidly advanced North up the peninsula taking out Korean castles and subduing the regions through power of force. They advanced to Seoul as the armies divided into two parts each racing to see who would enter Seoul first. . At Cho-ryung pass they united then both advanced on Seoul & took the castle as the Korean King and his entourage fled over the river at Imjin where the Koreans up their valiant effort to check the Japanese. This is a most magnificent painting of both Kiyomasa and Yukinaga as each holds a Naginada while the Korean King prepares to rides a black steed effecting his escape while being protected by a retainer who also holds an elaborate Naganada with the Imperial banner. THE ARTIST AND PAINTING SCHOOL: . This work was done in the Utagawa school style and was likely painted by Utagawa Kuniyoshi or one of his star pupils. It was painted in the "Ukiyo-e" style similar to that of a color woodblock print. . It is painted in a firm solid confident strong hand this work is executed with most impressive brush strokes style & manner expressing the Bushido spirit celebrating triumph over the Koreans. Marvelous detail to the whole work renders this a major piece. Skillfully drawn & painted on silk which is the most difficult medium to control ink flow this work is flawless and a fine example worthy of display in any Tokunoma. . The top is blue paper with black Sumi inscription naming the heroes and citing the Korean Battle. REFERENCE: For biographical details see JAPAN BIOGRAPHICAL ENCYCLOPEDIA & WHO'S WHO pp.592 689-90. . F. Brinkley: A HISTORY OF THE JAPANESE PEOPLE pp.509-520. . unknown
réf. 61952Holland 18th Century. . Water-colour on Dutch laid paper some light spotting and toning to paper. Framed and glazed overall size: 38.7cm x 45.7cm. Dimensions: 180 x 130mm. 7 x 5 inches. From a "Tulip Book" in the manner of Anthony Claesz who produced his own "Tulip Book" in c. 1641. These florilegia were commissioned to illustrate the differences between varieties of tulip bulb which at the time demanded such high prices. The beauty of these works ensured that their images would be copied for decades to come by amateur painters and gardeners alike. Claesz was a Dutch master in his own right with several highly accomplished works to his name. However as with most of the great Dutch masters of this period they happily supplemented their income by illustrating such books. It also allowed them to study in detail subjects that would later be incorporated in their great flower pieces. Provenance: Private Dutch collection. [Holland, 18th Century]. unknown
réf. 60722Holland 18th century. . Water-colour on Dutch laid paper some light toning. Framed and glazed overall size: 38.7cm by 45.7cm. Dimensions: 18 by 13cm. 7 by 5 inches. From a "Tulip Book" in the manner of Anthony Claesz who produced his own "Tulip Book" in c.1641. These florilegia were commissioned to illustrate the differences between varieties of tulip bulb which at the time demanded such high prices. The beauty of these works ensured that their images would be copied for decades to come by amateur painters and gardeners alike. Claesz was a Dutch master in his own right with several highly accomplished works to his name. However as with most of the great Dutch masters of this period they happily supplemented their income by illustrating such books. It also allowed them to study in detail subjects that would later be incorporated in their great flower pieces. [Holland, 18th century]. unknown
réf. 60952Holland 18th century. . Water-colour on Dutch laid paper light paper toning. Framed and glazed overall size: 38.7cm x 45.7cm. Dimensions: 180 x 130mm. 7 x 5 inches. From a "Tulip Book" in the manner of Anthony Claesz who produced his own "Tulip Book" in c. 1641. These florilegia were commissioned to illustrate the differences between varieties of tulip bulb which at the time demanded such high prices. The beauty of these works ensured that their images would be copied for decades to come by amateur painters and gardeners alike. Claesz was a Dutch master in his own right with several highly accomplished works to his name. However as with most of the great Dutch masters of this period they happily supplemented their income by illustrating such books. It also allowed them to study in detail subjects that would later be incorporated in their great flower pieces. Provenance: Private Dutch collection. [Holland, 18th century]. unknown
réf. 60719Holland 18th Century. . Water-colour on Dutch laid paper some light toning. Framed and glazed overall dimensions: 38.7cm by 45.7cm. Dimensions: 18 by 13cm. 7 by 5 inches. From a "Tulip Book" in the manner of Anthony Claesz who produced his own "Tulip Book" in c. 1641. These florilegia were commissioned to illustrate the differences between varieties of tulip bulb which at the time demanded such high prices. The beauty of these works ensured that their images would be copied for decades to come by amateur painters and gardeners alike. Claesz was a Dutch master in his own right with several highly accomplished works to his name. However as with most of the great Dutch masters of this period they happily supplemented their income by illustrating such books. It also allowed them to study in detail subjects that would later be incorporated in their great flower pieces. Provenance: Private Dutch collection. [Holland, 18th Century]. unknown
réf. RGW26779Watercolour on wove paper later inscription in ballpoint on reverse of surround 'View of Kew' inlaid small loss on far right The Archives of Kew Gardens in an email dated March 2026 were unable to identify this watercolour with any particular building but point towards a similar design of a garden pavilion by William Chambers 1723-1796 in the Sir John Soane's Museum Ref. 43/7/12. Numerous garden buildings were erected at Kew Gardens by Chambers and other designers and many are unrecorded. This pavilion could even have been for another garden in Kew like Syon Park.See HARRIS J. & SNODIN M. Sir William Chambers Architect to George III. 1996 and DESMOND R. Kew The History of the Royal Botanic Gardens 1995.Provenance: Tom Greeves 1917-1997 Architect and Artist. unknown
réf. Z1-C-018-02820Cambridge University Press. Used - Good. Ships from UK in 48 hours or less usually same day. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library so some stamps and wear but in good overall condition. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry. Cambridge University Press unknown
1891réf. 10008Seneca Falls NY 1891. No Binding. Near Fine. 3-inch diameter globe anchored in magnifying glass as issued; 5 ½ inches total height. Color-printed wax-engraved gores; some fading of place names a few repair in extreme southern portion but overall remarkably little wear; overall excellent condition. An unrecorded delightful cartographic curiosity: a very good quality miniature globe with a magnifying paperweight as its base. Only two other globes by the American Globe and Supply Company are known: a six-inch terrestrial recorded by Rumsey dated 1892 and an eight-inch terrestrial cited in Rittenhouse dated 1891; see below. This Seneca Falls New York company was one of several for which Rand McNally supplied gores for the globes it produced. Rand McNally did not issue its first globe until 1887. Very nice condition for an object of this kind. Cf. Rumsey 5120; Rittenhouse Vol. 2 No. 1 p. 23. unknown
1884réf. 23391884. Very good . A unique quarto 15 x 12 1/2 inches 382 x 318 mm; 30 double-sided sheets containing approximately 80 preserved specimens of seaweed and sea mosses which are individually dried mounted to card stock and tipped-in; each with the genus in Latin and the date and location of collection handwritten in pencil in the lower mount. Approximately 1 to 5 specimens per page. Binding is broken and significantly worn with some pages loose. Specimens are intact and separated by blotting paper and remain in very good to excellent condition with some exhibiting only minor losses. While seaweed collecting was a popular Victorian pastime in Britain this rare herbarium is filled with a profusion of north American specimens primarily from Bay Ridge Brooklyn to Nantucket island as well as some from California and Bermuda. In the Victorian era seaweed collecting or algology was far more than a casual beach activity; it was a massive cultural trend that married scientific curiosity artistic expression and social freedom. While the Victorians were obsessed with all things natural history a trend called "natural theology" seaweed held a unique appeal especially for women. While studying animal anatomy was seen as "unladylike" at the time collecting seaweed was considered a genteel and healthy outdoor activity. As a result several women used the opportunity to make significant scientific contributions. Often called "Ocean Flowers" or "Sea Mosses" these specimens became the focus of elaborate scrapbooks and pioneered some of the world's first photographic techniques Anna Adkins's Produced Photographs of British Algae: Cyanotype Impressions 1843 was the first book ever illustrated with photographs. Today these Victorian albums are more than just relics of a cultural fad; they are vital biological records. Scientists utilize the DNA from these 150-year-old pressed samples to track how ocean temperatures and species distributions have changed since the Industrial Revolution. Creating a seaweed album was a meticulous process. Collectors didn't just dry the weeds; they "resurrected" them to look alive on the page. This album demonstrates the incredible skill of the maker. unknown
1895réf. 223921Paris: Gauthier-Villars et Fils 1895. First. hardcover. fine. Illustrated throughout with nicely printed portraits and other historical reproductions. 3 volumes. lxviii 519; 572; 646pp. Very thick short 4tos beautifully rebound by Stroobants in older 3/4 tan morocco over marbled boards; ornate gilt-stamped spines with burgundy leather labels; uncut edges t.e.g. original wrappers bound-in marbled board slipcase worn. Paris: Gauthier-Villars et Fils 1895-1897. Fore-edges foxed and also some light foxing throughout the first volume otherwise a fine copy in a lovely binding. Gauthier-Villars et Fils unknown
réf. 514Good. Pen and sepia ink wash on cream laid paper 4 1/8 x 6 3/16 inches 103 x 152 mm. In good condition with scattered areas of light brown discoloration and uniform age tone. Condition consistent with age. unknown
réf. 798252020. Thirty 30 linear feet shelf space. Thirty 30 linear feet shelf space. Fordham Law Review. Fordham Law School. Volumes 1 to 88 1914-2020 in 134 bound books. Ex-library with shelf location labels property stamps to page edges small bar code labels on lower front covers else very good. Thirty 30 linear feet of shelf space. $1995. Founded in 1914 and operating continuously since 1935 the Fordham Law Review is a scholarly journal committed to serving the legal profession and the public by discussing current legal issues. The Fordham Law Review publishes works in various formats including Articles Essays Symposia and Student Notes. The Fordham Law Review is the thirteenth most cited law review in cases ninth most cited law review in other journals and ranked eighteenth overall in Washington & Lee University's most recent annual study. unknown
réf. 798282023. Twenty-six 26 linear feet shelf space. Twenty-six 26 linear feet shelf space. UCLA Law Review. Los Angeles School of Law University of California Los Angeles. Volumes 1 to 66 1953-2019 in 92 bound books Volumes 67 no.1 to 70 no.5 April 2020-Nov 2022 in 23 paper bound books. Together 115 books. Ex-library with Location labels at foot of spines and Property stamps on page edges very good. $1995. The Law Review is a completely student-run organization and all management editorial and publication control is vested in its members. The Law Review strives to publish articles of the highest academic quality while also appealing to the general interests of practicing attorneys legal scholars law students judges and legislators. In 2022 it was ranked No. 7 among general-topic law reviews by the Washington and Lee law journal rankings. The UCLA Law School was founded in 1949 and UCLA Law Review began in December 1953. unknown
réf. 798292020. Twenty-six 26 linear feet shelf space. Twenty-six 26 linear feet shelf space. Notre Dame Law Review. University of Notre Dame Law School. Volumes 1 to 94 1925-2019 in 122 bound books with volume 95 2019-2020 in 5 softbound books. Together 127 books. Ex-library with shelf location labels property stamps to page edges small bar code labels to lower front covers else very good. Twenty-Six 26 linear feet of shelf space. $1995. The Notre Dame Lawyer was organized in 1925. In 1981 the staff of the Lawyer changed the publication's name from the Lawyer to the Notre Dame Law Review but all generations have remained committed to the original founders' vision of a law review "synonymous with respect for law and jealous of any unjust attacks upon it." Today the Law Review maintains its tradition of excellence and its membership includes some of the most able and distinguished judges professors and practitioners in the country. Entirely student-edited the Law Review offers its members an invaluable occasion for training in precise analysis of legal problems and in clear and cogent presentation of legal issues. In addition the Law Review affords its members the opportunity to foster scholarly discourse within the legal community. The Law Review seeks to enrich discourse in the legal community while remaining mindful of the Catholic tradition of justice a commitment prominently featured in each issue's dedication to Our Lady Mirror of Justice. unknown
réf. 798272022. Thirty 30 linear feet shelf space. Thirty 30 linear feet shelf space. Vanderbilt Law Review. Nashville TN: Vanderbilt University School of Law. Volumes. 1 to 72 1947-2019 in 122 bound books Volumes 73 no.1 to 75 no.2 Jan 2020-March 2022 in 14 paper bound Volumes. Together 136 books. Ex-library with location labels at foot of spines and property stamps on page edges. else very good. $1995. The Vanderbilt Law Review is the flagship academic journal of Vanderbilt University Law School. The law review was founded in 1947 and is published six times per year. In 2022 it was ranked #8 among general-topic law reviews by the Washington and Lee law journal rankings. unknown
1966réf. 58797Providence RI: School of Design. As New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request – – IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - 182 pp. With 100 ills. 20 col. . 26 x 22 cm. -- with a bonus offer-- . 1966. School of Design paperback
2008réf. 80500W. W. Norton & Company. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- - Corresponds to ISBN: 0393732509. 144 pp. 300 color ills. biogs. 4to. Description: " 'Layered Urbanisms' presents critical discussions and illustrations of urban research and design analysis as carried out in advanced studios with young architects investigating ways to design new urban spaces for New York. Three innovative architects—Gregg Pasquarelli of SHoP Galia Solomonoff and Mario Gooden of Gooden Huff—at Yale. Themes include Versioning: Privately Owned Public Space in Lower Manhattan; Civic Spaces for the Atlantic Yards in Brooklyn; and Mapping Cultures for a security center and global theater at the U. N." -- with a bonus offer--; Yale School of Architecture Books . 2008. 0393732509 . W. W. Norton & Company paperback
