PDF Pmola en quatre temps (Contes) (French Edition)

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With twenty - eight illustrations by F. Bleak house. With sixty - one illustrations by F. Little Dorrit. A child's history of England. With fifteen illustrations by J. American notes and pictures from Italy. With eighteen illustrations by A. Frost and Gordon Thomson. The personal history of David Copperfield. With sixty - one illustrations by J. Hard times. With twenty illustrations by H. Dombey and son. With sixty - two illustrations by F. The posthumous papers of the Pickwick Club. With fifty - seven illustrations by "Phiz". Ventuno voll. VI - con 4 tavv.


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VI - con 3 tavv. VIII - con 4 tavv. VII - con 2 tavv. Ralston f. Ralston n. X - con 4 tavv. XII - con 4 tavv.

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Testo su due colonne. Esemplare in ottime condizioni, salvo un paio di voll. Si tratta dell'edizione in 21 voll. Dickens "Household edition in 21 vols. Bernard, J. Mahoney and others cfr.

Macallan Edition (1-4) Single Malt Scotch Whisky Collection

Sotto la dedica si copia a matita la poesia di Charles Cros aveva adornato la copia offerto Nina Villard, dedicatario dell'opera. Ultima custodia parzialmente sgualcito. Molto bella copia, con tutti i margini, ben stabilita. Mame, Con antiporta e 13 incisioni all'acquaforte di V. Foulquier ciascuna protetta da velina. All'inizio sono stati inoltre aggiunti due bei ritratti incisi dell'autore. Bella legatura coeva in pieno marocchino blu mare, dorso a nervi con titoli e ricchi fregi, piatti decorati da triplice filetto in oro e cornici concentriche centrali.

Dentelles interne, sguardie marmorizzate e tagli dorati. Legatura firmata R. Eccellente stato di conservazione. Ex libris di Marcel Bertrand. Vicaire III, London: G P McQueen.. Hand coloured engraving, later impression. Size to plate mark: Very good Condion. Pair of horse racing prints engraved by Charles Hunt and Son.

First published April, London: Smith, Elder and Co. New Edition.

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Original brown cloth, spines and covers lettered and decorated in gilt and blind, top edges gilt, terracotta-coloured endpapers. Numerous plates by Thomas Lupton, J. Armytage, R. Cuff and others after Ruskin, illustrations in the text. A few inner joints cracked but sound, the odd tape mark to endpapers, scattered light foxing. A remarkably good set, fresh and bright. Signed limited edition, one of 1, copies signed by the author at the end of the preface. Ruskin's magnum opus, one of the key texts of the aesthetic movement, was first published ?

Ruskin's The Stones of Venice and The Seven Lamps of Architecture "with their obsession with the function and aesthetics of architecture, over and beyond its history and practice? In the most famous chapter, "The nature of Gothic", which was twice reprinted in his lifetime first for the inauguration of the London Working Men's College in , and second by William Morris in , "Ruskin argued that under conditions of industrialization and the division of labour, social disharmony and industrial unrest were bound to occur, because the previously expressive craftsman - Ruskin's ideal working man - had been reduced to the condition of a machine" op.

With an appealing provenance, inscribed on the front free endpaper of volume I: "G. Geoffrey Fletcher was a British artist and art critic, best known for his book The London Nobody Knows and a series of similar books popular during the 60s and 70s. His detailed and delicate paintings and drawings of London landscapes often of unfashionable, neglected, or dilapidated subjects owe a debt to Ruskin's own penetrating eye. True first edition, first printing.

Rare indeed, with "" on the title page, the vast majority having the year "" on the title page. The book measures 5.

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Illustrated with black-and-white plates throughout. Bound in beautiful green smooth goat leather, with gilt titling and raised bands to the spine. Lacks the frontispiece and the rear advertisements. The book is in very good condition. Soiling to the covers with scuffed edges and bumped corners.

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Foxing to the fore-edges of the textblock with scattered foxing throughout. Two spots of rubbing to the fore-edge of the textblock. A truly rare copy of this adventure classic. Please view the many other rare titles available for purchase at our store. We are always interested in purchasing individual or collections of fine books. Zusammen 6 Bilder.

Wing, Hundreds of woodcuts in text. Large folio. Original gilt pictorial publisher's cloth, neatly rebacked, with original spine laid down. Corners lightly worn, cloth lightly faded and soiled. Several leaves with mild to moderate edge tears. Still a very good copy of a scarce book. A large-scale illustrated production showcasing the rebuilding of Chicago after the Great Chicago Fire of Filled with advertisements, the book features large woodcuts - single and double-page - highlighting the premier businesses of the city.

Lists of the illustrations and advertisers are also included. The lavish production is a testament to the resilience and determination of the Windy City to bounce back after disaster and claim its place as the heart of the Midwest. Scarce, with only one copy appearing in auction records for the last forty years, and that substantially incomplete. Colomb, Philip Howard. Slave-catching in the Indian Ocean. A record of naval experiences.

VIII, 4 , , 1 pp. With 8 steel-engraved plates including the frontispiece the 5 signed ones engraved by Pearson and a folding map of the Indian Ocean, Red Sea and the Gulf, hand-coloured in outline lithographed by Edward Weller. Red cloth. First edition only edition until a facsimile of a very detailed and well-illustrated account of a British naval campaign to suppress the East African slave trade in the years to , published only eight years after the end of the United States' Civil War and the abolition of slavery there. Slavery was not outlawed in the Ottoman Empire which at the time of publication included Egypt and what is now Iraq until , and in Iran and most of the Gulf States not until the 20th century.

He operated primarily in and around the Gulf, Oman and Zanzibar and captured seven slave ships during those two years. The illustrations show the Dryad and some of the slave ships, individual and group portraits of slaves encountered during the campaign, and views of ports where slave trading occurred. One of the group portraits was engraved after a photograph made by one of the Dryad's officers and other illustrations after drawings by other officers.

The first chapter relates Colomb's voyage to Aden, where he took command of the Dryad, and the next two chapters provide extensive background information to place the account of the campaign in context. Colomb's account of his own campaign includes chapters on individual regions Bombay, Muscat and Oman, the Gulf, Madagascar, Zanzibar, etc. Colomb was promoted to Admiral after his retirement from active duty. The book is sometimes mistakenly ascribed to his younger brother, John Charles Ready Colomb. Spine sunned; insignificant foxing in the folding map, but otherwise in fine condition.

Garrick, "Indian Ocean, post-exploration", in: Speake, Literature of travel and exploration , pp. WorldCat 4 copies. The Birds of Great Britain. London: Taylor and Francis for the author, [] Richter 4 plates at end of volume IV with some spotting. Contemporary green morocco gilt, all edges gilt, by Bickers and Son. Provenance: 19th-century engraved bookplate of the Barons Egerton of Tatton on the front paste-down of each volume; 20th-century bookplate of C.


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  5. Coldeway on the front paste-down of each volume. Often referred to as the most sumptuous and costly of all British bird books, the plates depict scenes with more sophisticated subjects than Gould's previous works, including nests, chicks and eggs: "I also felt that there was an opportunity of greatly enriching the work by giving figures of the young of many of the species of various genera - a thing hitherto almost entirely neglected by author's, and I feel assured that this infantile age of birdlife will be of much interest for science.

    Initially employed as a taxidermist [he was known as the 'bird-stuffer'] by the Zoological Society, Gould's fascination with birds began in the "late s [when] a collection of birds from the Himalayan mountains arrived at the Society's museum and Gould conceived the idea of publishing a volume of imperial folio sized hand-coloured lithographs of the eighty species, with figures of a hundred birds A Century of Birds Hitherto Unfigured from the Himalaya Mountains, Gould's friend and mentor N. Vigors supplied the text. Elizabeth Gould made the drawings and transferred them to the large lithographic stones.

    Having failed to find a publisher, Gould undertook to publish the work himself; it appeared in twenty monthly parts, four plates to a part, and was completed ahead of schedule. Eventually fifty imperial folio volumes were published on the birds of the world, except Africa, and on the mammals of Australia-he always had a number of works in progress at the same time. Several smaller volumes, the majority not illustrated, were published, and he also presented more than scientific papers.

    Although he did not paint the final illustrations, this description is largely correct: he was the collector especially in Australia or purchaser of the specimens, the taxonomist, the publisher, the agent, and the distributor of the parts or volumes. He never claimed he was the artist for these plates, but repeatedly wrote of the 'rough sketches' he made from which, with reference to the specimens, his artists painted the finished drawings.

    The design and natural arrangement of the birds on the plates was due to the genius of John Gould, and a Gould plate has a distinctive beauty and quality. His wife was his first artist. Sauer for DNB. Anker p. Huber, Joh. Die Urkunden des Stiftes Zurzach. Aarau, Christen - 22 x 13,5 cm, Front. Wempe ]. Oblong octavo.

    In black ink. On a card with the address "53 Rue de la Faisanderie" embossed at head. With autograph envelope postmarked Deauville, [August] 7l [] and Kramsach-Ache[n]rain [? In French with translation. De Reszke has sent two scores to Slezak, in which he has marked the breaks "according to the traditions of the [? Paris] Opera. On a card with "53 Rue de la Faisanderie" embossed at head.

    With autograph envelope postmarked [? In Italian with translation. De Reszke congratulations Slezak on his much deserved triumphs. He will write administrator Henry Higgins in order to secure the role of Otello for Slezak in an upcoming production at Covent Garden. Sembrich was also very kind to me. I will write immediately to Higgins for the debut in Otello.

    I'm afraid that d'Erlanger would like you to sing his opera first, but I will explain to Higgins that this would be a mistake on the Direction's part. On card with "53 Rue de la Faisanderie" embossed at head. De Reszke worries about Slezak's relationship with certain members of the Metropolitan Opera Company, including general manager, Giulio Gatti-Casazza , and star tenor Enrico Caruso De Reszke notes the successes of some of his other students, including the American soprano, Lucille Marcel , whom he notes "is always with W. I didn't believe that Caruso could scheme at this point.

    I hope that you will not cause too much bad blood for yourself because it's not worth the pain and [your] health and the first thing. She sang [.? De Reszke looks forward to seeing Slezak again after the latter's season has ended. He then passes judgment on two of the most prominent tenors of the day, his student Johannes Sembach and Enrico Caruso Now I have the tenor [Johannes] Sembach from Dresden, whom the direction sent me for a year; his voice is good, pleasant, be he had no idea how to place the high notes, [and] for that reason he forced in a terrible way.

    On a postal card. Postmarked Deauville Calvados. Translated by Geo. Original blue cloth, spine and front cover blocked in black and gold, bevelled boards, buff endpapers, gilt edges. Frontispiece and 54 plates. Spine slightly darkened, extremities rubbed, two short nicks at head of spine, a little scattered foxing, but an excellent copy. First UK and first illustrated edition in English, rare with the title page dated This Sampson Low edition was published in November , but the overwhelming majority of copies have the title dated , in line with usual contemporary practise for books published for the Christmas market.

    The binding was issued in a number of variant colours: blue, green, red, and purple. The novel was first published in French in as Le Tour du monde en quatre-vingt jour, from which James R. The translator George Makepeace Towle ? Binding half morocco Brodeaux back with five nerves, gilded tail date marbled paper plates, guards and contreplats of handmade paper, preserved covers, gilded head, signed binding Goy P.

    Illustrated book, frontispiece, a portrait of the author. Some foxing on the cover it appears the shipment. Chemins de fer du nord : Locomotives. CH Suisse? Type SACM.

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    Coupe longitudinale. Type 3 SACM Type 60 UG. Locomotive mixte. Type 3 SACM. Type 32 ug. Locomotives mixtes. Type 44 UG. Type 2 Sacm Ug Type 70 UG. Plan en couleurs. Badois Compoud Mallet. Type Ug. Plan - croquis. Andalous Tenders. Plan et coupe horizontale.


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    Chemin de fer de ceinture type 61 Akc. Type SACM Type UG Moscou Windau Rybinsk UG Schwartzland Type UG Compagnie des chemins de fer de l'ouest. Coupe longitudinales.

    UG Type Schwartzland janvier Type UG. Schwartzland UG UG Feuille double, soit 2 fois x Badois Compound Mallet. Badois Compound croquis. Type Cologne : Loco. See all formats and pricing. Online ISSN See all formats and pricing Online. Prices are subject to change without notice. Prices do not include postage and handling if applicable. Volume 44 Issue Dec , pp. Volume 43 Issue Dec , pp. Volume 42 Issue Dec , pp.

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