E h lyon (6 resultados)

Hardcover. Condición: Good+ to Very Good-. No Dust Jacket. (1880) 364+pp. Original brown cloth covers w/ gilt title on spine. Few, tiny blue paint spots (?) on front cover. Modest wear to corners; light fraying to spine ends. Top edge gilt. Previous owner's name on front endpaper. Edges of leaves lightly age toned, otherwise, contents nice.…

in-8vo, 146 p., brochure originale imprimée. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

12° (16,5 x 10,5 cm). Einer von mehreren Drucken dieser wohl nicht rechtmäßigen Werkausgabe - hier in der seltenen Variante mit Kupfertafeln von Simon Fokke. Erschien in dieser Form erstmals 1760 - nicht textidentisch mit der Berliner Quartausgabe von 1750., 322 S., 1 Bl., 23(1) S. Nur Band 1 (von 3) - der hier nicht vorhandene Band 3 erschien mit anderen Verlagsangaben. Geflammter Lederband der Zeit auf 5 Bünden, mit Rückenvergoldung. Sprache: Französisch, Mit gest. Titelvignette, 8 Kupfertafeln (inkls. Frontispiz) von Simon Focke (meist in der Platte signiert), 1 Faksimiletafel (Titel der Ausgabe der "Poesies diverses", Berlin 1760, mit gest. Vignette) und 9 gest. Textvignetten (Kopf- und Schlußvignetten). Einband etwas berieben, bestoßen und beschabt; Rücken mit kleinen Fehlstellen an den Kapitalen und auch die Lederecken mit kleinen Bezugsfehlstellen; Rückengelenke teils angeplatzt; Vordervorsatz herausgetrennt; Innendeckelbezüge (Spiegel), Schmutztitel und hinterer Vorsatz leimschattig; Innengelenke angeplatzt; Schmutztitel leicht angerändert; Schmutztitel und Frontispizblatt recto mit kleinerem Siegellackfleck im seitlichen Rand; teils leicht stockfleckig sowie vereinzelt gering braun- oder fingerfleckig; teils kleine oder winzige Knickspuren in den Ecken; alte Tinteneinträge recto Frontispizblatt; ein hinterer Vorsatz mit Inhaltsverzeichnis von alter Hand. Einer von mehreren Drucken von Band 1 dieser wohl nicht autorisierten Werkausgabe - hier die seltene Variante mit den 8 Kupfertafeln von Simon Fokke (1 Frontispiz, 1 Tafel zu den "Odes" und 6 Tafeln zu den 6 Gesängen von "L'art de la guerre") sowie 2 gest. Titelvignetten (Vignette des Haupttitels von J. C. Philips, hier aber nicht signiert, die Vignette des Titels zu "Poesies diverses" von Simon Fokke) und 9 gest. Textvignetten. Holzmann-Boh. III, 7568 / vgl. Brunet II,1386 (zur Berliner Quartausgabe von 1750).…

soft cover. Condición: fine. Grand et fort in-8° broché, couverture d'attente bleu azur moderne, 572 pages. Envoi autographe du grand préhistorien sur la couverture. Exemplaire en parfait état, PERFECT COPY - PLAT CONSERVE Émile Cartailhac (15 February 1845, Marseille - 26 November 1921, Geneva) was a French prehistorian, one of the founding fathers of the studies of the cave art. He is perhaps best remembered because of his involvement with the Altamira paintings. He got interested in prehistory (studies of which were then just beginning) at a very young age. He made excavations around the dolmens in Aveyron, and also in Portugal, Iceland and the Balearic Islands. In 1867 he was the supervisor of the prehistory section at a world's fair in Paris. Two years later, he became the chief editor of the revue Matériaux pour l'histoire naturelle et primitive de l'homme founded by Gabriel de Mortillet. This position he held until 1887. From 1882 he taught at the university in Toulouse and in 1897 he was elected a curator of Académie des Jeux floraux. After changing his opinion about Altamira, he became one of the founders of the studies of the cave art and one of the scientists (together with e. g. Henri Breuil) who recognised its importance. With Breuil he made the initial survey of the Caves of Gargas at Aventignan in the Pyrenees, and where Félix Régnault discovered Gravettian cave art in 1906. He was (together with Breuill and Marcellin Boule) one of the founders of Institut de paléontologie humaine in Paris (following a generous donation from Albert I). When Marcelino Sanz de Sautuola's daughter María discovered the paintings in Altamira and Sautuola, together with professor Vilanova, published their findings in 1880, Cartailhac was one of the leaders of the scientists who, suddenly facing a revolutionary change in the view of the prehistoric man, ridiculed these paintings at the 1880 Prehistorical Congress in Lisbon. Due to this opinion, the members of the congress did not even visit Altamira. He changed his mind after several other caves with clearly prehistoric paintings had been found and visited the cave with Breuill in 1902. He apologised there to María de Sautuola (her father died in 1888) and promised her to do everything to clear don Marcelino's name (Sautuola had even been accused of forgery). His letter from 9 October 1902 says among other things: "We live in a new world". He also wrote a famous article, Mea culpa d'un sceptique in which he admitted he was deeply wrong, emphasized the importance of Altamira, accused himself of holding back the progress of his science, and harshly criticised himself for doing an injustice to an honest man and rejecting a thing without any investigation. Today, opinions about this article vary. Kleibl praises it as "one of the finest moments of prehistory" and a "brave article, showing no fear of hurting his" [Cartailhac's] "professional credit",[1] while Lewis-Williams writes about it as about an opportunist thing used calculatingly for Cartailhac's own benefit when his position was no longer tenable. signed by author.…

gr. in-8, XVII-244 pp., bradel papier marbré (rel. moderne). - - VENTE PAR CORRESPONDANCE UNIQUEMENT - LIEN DE PAIEMENT, NOUS CONSULTER.

gr. in-8, XVII-244 pp., demi-chagrin vert, dos à nerfs, orné de fleurons, couv. cons. (rel. de l'époque). Petites épidermures, coupes et coins usés. Ex-libris de J. Camus. - - VENTE PAR CORRESPONDANCE UNIQUEMENT - LIEN DE PAIEMENT, NOUS CONSULTER.