Lesoualch (79 results)

Condition: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Couverture rigide. Condition: Bonne Condition. Couverture frottée et usée sur les bords, un accrocs au coin inférieur du dos au recto. Intérieur frais. 207 p.

Condition: Comme neuf. Nos envois se font avec suivi, pour tout problème n'hésitez pas à nous contacter pour trouver une solution.

Condition: Very Good. 1967. No Edition Remarks. 206 pages. Colour illustrated dust jacket over pink cloth with gilt lettering to spine. Illustrated throughout with colour and black and white plates. French language. Book is in better condition than most examples of this age. Neat, clean, well bound pages with very minimal foxing, tanning and thumbing. Small inscriptions and neat labels may be present. Boards have mild shelf wear with light rubbing and corner bumping. Some light marking and sunning. Unclipped jacket has light edge wear with minor tears and chipping. Mild rubbing and marking.

Couverture souple. Condition: Bon. Couverture légèrement usée. Voir photo. Intérieur propre. Envoi soigné.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. 202pp hardback, pink gilt-decorated cloth gin wrapper, well illustrated in colour and bw.

imo. Condition: Fine.

Condition: Neuf.

Couverture rigide. Condition: Très bon. Dust Jacket Condition: Satisfaisant. Edition originale. Livre relié 18,5x18,5x1,8 - 244 pages - La jaquette d'origine est usée cf photos) - Le livre est en parfait état, inscrit sur le registre des éditions Pauvert sous le n°583 - N'hésitez pas à nous contacter pour tout complément d'information au 09 72 86 68 96.

Couverture souple. Condition: Bon. In-4° broché,couverture illustrée,grand format,Editions Henri Veyrier,1978,abondantes illustrations en noir,255 pages,bon état.

Condition: Good. 1968. No Edition Remarks. 245 pages. No dust jacket. Black illustrated cloth boards with lettering. Contains black and white illustrations. Textblock is in French. Clean pages and illustrations with light tanning and mild foxing throughout. Binding remains firm. Boards have mild edge-wear with slight rubbing to surfaces and bumping to corners. Lettering is darkened. Moderate sunning to spine and edges with crushing to spine ends. Visible wear marks to boards.

Couverture souple. Condition: Assez bon. Édition spéciale. Exemplaire du service de presse. Denoël. 1972. 205 p. Format 12 x 20 cm. Complet de son bandeau rouge promotionnel. Tranche de tête piquetée. Expédition dans une enveloppe à bulles.

Hardcover. Condition: Very Good. No Jacket. 1st Edition. Please email for Photographs or further information. Very Good - . 1970 1st Edition , JAPANESE PAINTING By Theo Lesoualc'h Synopsis: "When Japanese prints were on show in Paris from 1867 onwards, Impressionism and its derivatives principally took from them certain formulas: formulas and precedents which formed the basis for the innovations considered desirable by painters at the time. Whistler, whose Old Battersea Bridge caused a sensation, was adapting Hiroshige. Degas, with his diagonal compositions, his balancing obliques, his broad planes, had taken his inspiration from Hokusai. And Monet would not have cut off so many boats in the middle, nor so far developed his evocation of the "day without shade which is truly itself", without the example of the ukiyo-e. His Nympheas, that long pictorial meditation which occupied the last twenty-five years of his life, remains one of the most profoundly Japanese works that has ever been painted in the West, less perhaps for its actual style and quality of light than for the feelings behind it and those it seeks to arouse in this spectator. As the painter once confided to his friend George Clemenceau: "I simply bend my efforts towards the maximum appearance in direct relation to the unknown realities.When one is on the plane of concordant appearances, one cannot be far from reality, at least, as far as we are able to know it." These words might equally well have came from a Zen master. This need not be surprising, however, considering they were spoken at Gilberny, in the vast park Monet contrived there by diverting a river, at the time he was working on the Nympheas. This park, and this fresco eighty-seven yards long, echo the spirit of Zen, which, say the sages of Yamato, blows where it lists, but lingers more readily than elsewhere in those places where man seems to have divined the secret plans of nature, and has undertaken to extend them accordingly. Van Gogh also approached the Japanese ideal as it was then revealed: he finished by perceiving the Edo landscapes in the Arles countryside - or very nearly! His tragic fate reads almost like one of those apologias in which the golden legend of Far Eastern painting abounds. The same with Gauguin, another haunted man." excerpt from the introduction by Jean-Clarence Lambert. Binding: Hardcover, quarto (4to 9 1?2 × 12 in 241 × 305 mm ) Note: Binding/size selection follows standard bibliographic conventions and is approximate; exact measurements may vary. Collation: pp. 208 Language: English Published By: Heron, Condition Report: Dust Jacket: No Jacket, Dust Jacket Condition: No Jacket Very Good - . SKU: BTETM0000723 Shipping Info: Approximate Package Dimensions H: 12.5, L: 30, W: 25 (Units: cm), W: 2Kg Tracked Shipping, Insurance Coverage as per Customer Request.

Couverture rigide. Condition: Bon. 244 p. Ill. Exemplaire de biblio. Code 2132.

Couverture souple. Condition: Très bon. Edition originale. In-octavo broché, couverture jaunie et partiellement insolée sinon très bel exemplaire.

Condition: very good. Photo non contractuelle. Envoi rapide et soigné.

Condition: COME NUOVO. Orpheus Libri cm.17x27, pp.206, illustrazioni e tavole in bianco e nero e a colori nel testo, legatura editoriale in mezza pelle rossa, piatto anteriore fasciato e figurato a colori. Collana Storia Generale della Pittura. Con dizionario in appendice.

Encuadernación de tapa dura. Condition: Bien. L328. Aguilar - 207pp Vol 25. Historia general de la pintura. L328x17.IR.

Broché. Condition: Bon. Éditions Henri Veyrier 1978 -Broché 255 pages in-4°. illustrations en noir.

Couverture rigide. Condition: Très bon. Edition originale. Cartonnage in-8 carré (17,5 x 18 cm), relié pleine toile noire, vignette en coul. et titre sur le 1er plat, 244 pp., très nombr. illus. en n&b in et hors texte, et 2 planches coul.

in-8 carré, relié, 244 pages. NB. Nous exposons au Salon de la Bibliophilie place Saint-Sulpice à Paris, du 28 au 31 mai (10h à 19h et nocturne le samedi 30 mai jusqu'à 21h) Entrée gratuite. STAND 103 face à l'entrée rue Bonaparte. Les questions et commandes seront traitées en fin de journée et les expéditions reprendront début juin. Merci !

Encuadernación de tapa dura. Condition: Bien. M851. Aguilar - 207pp Cartoné. Historia general de la pintura. Ilustrado. Gr A79525.

Couverture souple. Condition: bon. R240153389: 1988. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 158 pages. 1er plat illustré en couleurs. . . . Classification Dewey : 840.091-XX ème siècle.

Couverture souple. Condition: bon. R260108750: 1988. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 158 pages. Premier plat illustré en couleurs. . . . Classification Dewey : 840-Littératures des langues romanes. Littérature française.

tapa dura. Condition: Bien. Historia del arte Aguilar. Madrid. 1969. 27 cm. 200 p. il. Encuadernación en tapa dura de editorial. Colección "Historia General de la Pintura" (25) . Contiene pegatina en lomo. (=3654898=) PE137.

Hardcover. Condition: Very Good. No Jacket. English text; Hardcover (leather without dust jacket); 208 pages with colour illustrations; 17.5 x 27.1 cm; 0.818 Kg; Used book in very good condition showing minor signs of wear.; "When Japanese prints were on show in Paris from 1867 onwards, Impressionism and its derivatives principally took from them certain formulas: formulas and precedents which formed the basis for the innovations considered desirable by painters at the time. Whistler, whose Old Battersea Bridge caused a sensation, was adapting Hiroshige. Degas, with his diagonal compositions, his balancing obliques, his broad planes, had taken his inspiration from Hokusai. And Monet would not have cut off so many boats in the middle, nor so far developed his evocation of the "day without shade which is truly itself", without the example of the ukiyo-e. His Nympheas, that long pictorial meditation which occupied the last twenty-five years of his life, remains one of the most profoundly Japanese works that has ever been painted in the West, less perhaps for its actual style and quality of light than for the feelings behind it and those it seeks to arouse in this spectator. As the painter once confided to his friend George Clemenceau: "I simply bend my efforts towards the maximum appearance in direct relation to the unknown realities.When one is on the plane of concordant appearances, one cannot be far from reality, at least, as far as we are able to know it." These words might equally well have came from a Zen master. This need not be surprising, however, considering they were spoken at Gilberny, in the vast park Monet contrived there by diverting a river, at the time he was working on the Nympheas. This park, and this fresco eighty-seven yards long, echo the spirit of Zen, which, say the sages of Yamato, blows where it lists, but lingers more readily than elsewhere in those places where man seems to have divined the secret plans of nature, and has undertaken to extend them accordingly. Van Gogh also approached the Japanese ideal as it was then revealed: he finished by perceiving the Edo landscapes in the Arles countryside - or very nearly! His tragic fate reads almost like one of those apologias in which the golden legend of Far Eastern painting abounds. The same with Gauguin, another haunted man." excerpt from the introduction by Jean-Clarence Lambert.

Hardcover. Condition: About Fine. Second Edition. Originally published in 1968. A Fine copy in glossy paper covered boards, without jacket. 255pp. Extensively illustrated in black and white. Q13624.

Tapa dura. Condition: Muy bien. Páginas: 207. Colección "Historia general de la pintura", número de colección ( 25) .Numerosas ilustraciones en blanco y negro y a todo color. Estado de la cubierta: Muy bien. Tamaño 18x28.Tenemos a su disposición fotografías de nuestros libros. Si desea verlas, o ampliar las ya publicadas, puede solicitarlo a través del correo electrónico de nuestra librería. Libro.

Hardcover. y17467 Buch in gutem Zustand. Sprache: Deutsch Gewicht in Gramm: 550.

Couverture rigide. Condition: Comme neuf. 2ème Édition. 1 fort volume 31 x 24 cm 255 pages beau papier bien illustré. Réédition de celle sortie chez Pauvert en 1967, elle est à son tour épuisé. Etata parfait de neuf jamais lu bien brillant. Superbe.