john bachmann (40 résultats)

Paperback. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Soft Cover. Etat : Good. J. Bachmann (Cover Illustration) (illustrateur). Copyright © 1972. 550 pp. Over-sized and/or over weight book; extra postage required. Please note that large and/or heavy items may incur an additional shipping charge. Solidly bound copy with moderate use. Slightly slanted spine. Water stains on bottom edge.

Pamphlet. [1], 12 p.; 21 cm. VG, stapled, in orig. maroon wrapper.

gebundene Ausgabe. Etat : Gut. 175 S. Der Erhaltungszustand des hier angebotenen Werks ist trotz seiner Bibliotheksnutzung sehr sauber. Es befindet sich neben dem Rückenschild lediglich ein Bibliotheksstempel im Buch; ordnungsgemäß entwidmet. Altersbedingte Anbräunung des Papiers und Einbandes. Text in ALTDEUTSCHER SCHRIFT. Sprache: Deutsch Gewicht in Gramm: 215.

Single Issue magazine. Etat : Good. First Edition; First Printing. Kokomo / New York: Popular Publications Inc. Good. 1950. First Edition; First Printing. Single Issue magazine. First edition. Pulp magazine. Pictorial wrappers [about 6.75" x 9.25"], 130 pages, illustrated. Good or better copy with the spine heel very lightly chipped, usual edgewear and tears with light chipping to the cover, old faint small area of dampstaining to the upper corners of the covers , text paper tanned as usual. See Photo; 4to 11" - 13" tall; 130 pages .

gr8°, Pappe ohne Schutzumschlag 64 Seiten kaum Gebrauchsspuren am Einband und Block Block sauber und fest ISBN: 9783760726003 alle Teile ohne Beschädigung Stichworte: AZ, Wagner Deutsch 300g.

8°, Pappband. John Howe; Anne Yvonne Gilbert; Tomislav Tomi?; Helen Ward (illustrateur). ohne Schutzumschlag, Ringbindung, kaum Gebrauchsspuren am Einband und Block, Block sauber und fest, Sticker Teil komplett 80, 5 Deutsch 300g.

Etat : Wie Neu!!! Zahlr. Fotos.

Hardcover. Etat : Bon. Ancien livre de bibliothèque avec équipements. Edition 2001. Tome 9. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Edition 2001. Volume 9. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Etat : Bon. Ancien livre de bibliothèque avec équipements. Couverture différente. Edition 2001. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Different cover. Edition 2001. Ammareal gives back up to 15% of this item's net price to charity organizations.

Couverture souple. Etat : Très bon. Macfarlane John (dessins des decors et des costumes) (illustrateur). Programme, broché, format 16,5x24 cm. 106 pages. Couverture cartonnage souple illustrée. Très bon état général. Une contremarque collée sur la page de titre avec deux lignes manuscrites en dessous. SOMMAIRE : A lire avant le spectacle, trilingue français, anglais, allemand (p. 17) - Argument, trilingue (p. 21) - Ah si tronchi dalla vita tutto quel che non è amor (titre en italien mais article en français), par Willy Decker (p. 28) - Bérénice, Jean Racine (p. 32) - Un reste de tendresse pour un genre lointain, par Teodor de Wysewa et Georges de Saint-Foix (p. 35) - Le couronnement de Sextus, par Alessandro di Profio (p. 39) - La destitution de Titus, par Olivier Rouvière (p. 45) - La clémence d'Auguste, de Sénèque (p. 54) - Les figures de l'amour dans La Clemenza di Tito, par Isabelle Moindrot (p. 57) - L'ultime victoire d'Amadeo, par Dominique Fernandez (p. 63) - L'égalité entre des êtres par essence inégaux, par Ivan Nagel (p. 68) - De la clémence du prince, de Montesquieu (p. 71) - Titus, du souverain sacrifié au prince des Lumières, par Christian Biet (p. 73) - Une page pour Mozart, par Ingeborg Bachmann (p. 79) - Livret (texte en français) (p. 83). Nombreuses illustrations.

Pasta dura en tela editorial. Etat : Bueno. Blatt, A. H (Edited by, Secretary to the Board Queens College, Flushing, N. Y.) Editorial Board: Roger Adams, Homer Adkins, C. F. H. Allen, W. E. Bachmann, W. H. Carothers, H. T. Clarke, J. B. Conant, N. L. drake, Louis F. Fieser, Reynold C. Fuson, henry Gilman, W. W. Hartman, John R. Johnson, C. S. Marvel, C. R. Noller, R. L. Shriner, Lee Irvin Smith, Frank C. Whitmore. Organic Syntheses. Collective volume 2. A revised Edition of Annual Volumen X ? XIX. Second Printing. New York, John Wiley and Sons, Inc. London: Chapman and Hall, Limited. Características: Pasta dura en tela editorial en muy buen estado. 654 págs. ( 23.5 x 16 cms.). Peso: 1.700 grs. (176 NUEV).

3 Bde. Gr.-8°. VIII, 383 S., 1 Bl., 334 S., 1 Bl., V, 348 S. Mit 155 fein kolorierten, lithographierten Tafeln von W.E. Hitchcock und R. Tremley nach J.J. und J.W. Audubon. Dunkelblaue Kalbslederbde. der Zeit mit goldgepr. Rückenschild und schlichter Rückenvergoldung. Audubon's Quadrupeds "is a breathtaking accomplishment. The most naturalistic depiction of American mammals ever done" (Legacies of Genius, 128).- John James Audubon gilt mit Recht als der beste amerikanische naturwissenschaftliche Maler. Seine Bilder zeichnen sich durch genaue Beobachtung des Tierverhaltens und der natürlichen Umgebung aus. Die Anmut und Lebendigkeit seiner Darstellung haben diese Lithos zu intimen Genrestücken von Tier und Landschaft werden lassen.- Die Lithographien basieren auf den Tafeln der Folio-Ausgabe von 1845-54. Es liegt hier die seltene erste Oktavausgabe, hrsg. von V.G. Audubon vor, Band I im zweiten Druck der ersten Ausgabe.- Audubon bereiste ganz Nordamerika, auch Mexiko, Californien und Texas, sowie die britischen und russischen Territorien und arktischen Regionen. Aus diesem Gebiet stammen auch die hier behandelten Arten. Langjähriger Mitarbeiter Audubons war der protestantische Geistliche John Bachmann, der hier den meisten Text geliefert und auch als Mitherausgeber fungiert hat. 1831 hatte Audubon Bachmann mit seiner Familie für einen Monat in Charleston besucht, was der Beginn ihrer gemeinsamen Arbeit war. Die Familien wurden vereint als Audubons zwei Söhne Bachmanns Töchter heirateten.- Komplettes, sauberes und gut erhaltenes Exemplar des berühmten Werkes. Text minimal gebräunt, einige wenige Tafeln mit leichten Fingerflecken, wenige Textblätter mit Trockenstempel, Spiegel gestempelt, Gelenke restauriert.- Nissen ZBI 163. Sabin 2368.

LeatherBound. Etat : NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1857 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set and contains approximately 24 pages. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English.

Etat : Gut. Kinderbuch, Bilderbuch, Fremdsprache, Fremdsprachenunterricht Kinderbücher, Jugendbücher ohne Seitenangabe schönes Kinderbuch / Bilderbuch / Beschäftigungsbuch; zweisprachig (dt., engl.); zum Lesen und Lernen; reichhaltig farbig illustriert; gut erhalten An staatliche Organisationen und Einrichtungen, auch Bibliotheken, versenden wir im Inland gern auf Rechnung. Sprache: Deutsch Gewicht in Gramm: 505 ca. 30 x 21 cm, gebundene Ausgabe.

hardcover. Etat : Sehr gut. 192 Seiten; 9783858813701.2 Gewicht in Gramm: 2.

Softcover. Etat : sehr gut. Originalbroschur. 4°. 836-843 SS. mit 1 Figur und 8 Tabellen. ausgeschiedenes Bibliotheksexemplar. leicht Gebrauchs- u. Lagerspuren. gebräunt. sehr guter Zustand. Reprinted from The Astronomical Journal", Vol. 80, No. 10. Reprint: Sproul-Observatory, Nr. 251. in englischer Sprache (in english).

Script Format, reprint. Etat : As New. / 1980 DRAFT / I HAVE MORE TITLES, LET ME KNOW IF YOU ARE LOOKING FOR OTHER TITLES / THE SCRIPT IS PRINTED ON THREE-HOLE PUNCHED PAPER AND BOUND WITH 2 BRASS BRADS /.

Single Issue Magazine. Etat : Fair. Penn, Irving (Cover); Cowley, Jack; Barr, Neal; Rubartelli, Franco; Avedon, Richard; Lichfield, Patrick; Rudling, Ewa; Waldeck, Alexis; Waldeck, Alexis; Bailey, David; Penati; Bachmann, Jacques; (illustrateur). First Edition. 184 pages. Features: Vogue's Eye View - It's Fit to be Fit; Swinging Coats, Capes and Ponchos worn by Joan Whitney Meyer, Shawn Ryan, Penelope Tree, Cecile de Forey and Sharon Harts; The Fashion for mixing prints, textures, color; The Beautiful People of Hawaii - Mr. and Mrs. Jack Lionel Warner, Princess Ira Furstenberg, Mr. and Mrs. John Carl Warnecke, Duc and Duchess de Crussol d'Uzes, Geraldine Chaplin and Tina Chen; Jean Shrimpton and Penelope Tree dress for the beautiful life in Hawaii; Long, languorous jerseys for evening; Lauren Hutton - hooked on crochet; The Enticers, 1970 - On TV; The Band. The Best?; Moroccan Wake-Up - the John Paul Getty, Junior, House in Marrakesh; Twexercises - new fitness routine for husbands and wives with Leigh Taylor-Young and Ryan O'Neal; Dozens of gorgeous ads; and much more. Somewhat above-average external wear. Binding intact. Unmarked. A sound vintage copy.

Soft cover. Lithograph with original hand color, 17 ¼" x 22 ½" sheet, 27 ½" x 33" framed. Excellent condition. In her pioneering study on the compositions of John Bachmann, Elen Deming (2000) emphasizes the intermediary position of his aesthetics between so-called pictorial views and aerial perspectives. By placing public landscapes in the foreground of his prints, Bachmann innovates this dual taxonomy, combining "the ideals of pastoralism and modernity in an urban American context." The visual juxtaposition of landscapes and city elements not only derives from the classical background of his European training, but also foreshadows the utopian urbanism of the late 19th century. Bachmann's "New York City Hall, Park and Environs" is a preeminent example of this pictorial strategy. Receding diagonals emphasize the landscaped space in front of City Hall while providing ample opportunities to depict the social activities (horses, carriages, flaneurs, etc.) on Broadway. The charming nonchalance with which city life is represented here owes to the popularity of Currier & Ives' commercial prints. As for the status of City Hall, it departs from the monumentality of the famous Hill engraving from the 1820s. Bachmann makes the Neo-Renaissance building integrate its surroundings seamlessly. This sense of urban idyll is also noted by Deak (1988) in her book on the visual history of the United States: "Along the broad thoroughfare moves a smart array of carriages, coaches, and fashionably-dressed pedestrians. The fountain playing in the imperfect triangle of City Hall Park had now permanently replaced the temporary one erected there during the Croton Water Celebration that took place there in 1842. Beyond the fountain is City Hall itself, admired by residents and visitors alike for its architectural splendor: a successful adaptation of French Renaissance and American colonial influences." Lit. Elen Deming: "The Country and the City: John Bachmann's Views of Manhattan & Central Park", in Landscape Journal 19 (2000), pp. 111-125. Gloria Deak: "Picturing America, 1497-1899: Prints, Maps, and Drawings Bearing on the New World Discoveries and on the Development of the Territory that is now the United States", Princeton 1988. John William Reps: "Views and Viewmakers of Urban America: Lithographs of Towns and Cities in the United States and Canada, Notes on the Artists and Publishers, and a Union Catalog of Their Work, 1825-1925", Columbia 1984. Isaac Newton Phelps Stokes: "The Iconography of Manhattan Island", New York 1915-1928. #10162F.

Etat : gut. Kompendium Außerklinische Beatmung im Kindes- und Erwachsenenalter: 21. Jahrestagung der Deutschen Interdisziplinären Gesellschaft für Außerklinische . Beatmungsmedizin e.V. Hamburg 6.-8. Juni 2013 In deutscher Sprache. pages.

Etat : New. Print on Demand pp. 534.

Art, Prints & Posters. Etat : Very Good. Oblong color print of Central Park, New York City. Mounted, under glass. Dimensions of image: 34 x 49 cm. Dimensions of frame: 20 x 26 inches. Bird's eye view, looking south. Terrace near foreground. Mall beyond with anchored balloon floating above; Harbor in distance. Not examined out of glass. Date presumed.

Etat : Very Good. Attractively framed and matted reprint of an iconic panoramic view of Manhattan and a good chunk of Brooklyn, with Queens and the Bronx, both showing little development, in the far off horizon. N.d., mid-19th century. (The exact year is surely possible to pinpoint with further research than we are willing to do given the price point involved in this map. Our educated guess is that this reprint was in Harper's Weeklly, given its dimensions and the thin pulp paper used.) The reprint is smaller than the original lithograph, and certainly some of the detail has become blurred or fuzzy, but it nonetheless remains rife with detail and exudes an antique charm contemporary, loosely-speaking, perhaps, with the original. The map margins show some light browning and soiling, as does the matting, but we wouldn't change a thing. The framing and matting befit the map, and as an unit this is ready to be proudly displayed on a wall. The frame is 38 by 48 cm, the visible portion of the map, including the rather narrow margins, 25.5 by 36.5 cm.

Chromolithograph, by Bachmann. A fine copy of this bird's-eye view by Bachmann, 'one of the finest American artists and lithographers specializing in bird's-eye views' (Stephenson & McKee), recalling a pivotal moment in the Civil War. 'Bachmann did six views of the Confederate States like this one . They are very rare.' (Rumsey). The clouds of smoke over Fort Donelson show that this image is intended to recall a moment in time between February 11th and the 16th, 1862, when Brigadier General Ulysses S. Grant besieged and secured the surrender of Fort Donelson. The 12,000-strong garrison's unconditional surrender was a major victory for the Union and a catastrophe for the South: Kentucky stayed in the Union, and Tennessee became vulnerable to a Northern advance along the Tennessee and Cumberland Rivers. Grant, who received the nickname 'Unconditional Surrender', was also promoted to Major General, and came to be considered as an important figure in the western theater of the war. The area shown is bounded by Cape Girardeau and the Mississippi River in the Southwest, Evansville and the Ohio River in the Northwest, Cincinnati in the Northeast and centered on Memphis, Cairo, New Liberty, and Nashville. The map is oriented with east at the top, with the Mississippi River appearing in the foreground, and its major regional tributary Rivers flow toward the horizon. Stephenson Civil War Maps (1989) 23.5; Rumsey 2657; Reps p.160 ('No finer artist of city views worked in America than John Bachmann).

Second issue of this extremely rare bird's-eye view of southern Maryland, Washington and most of Virginia from the north. This is not to be confused with the more common redrafting of this view from the east which Bachmann produced as part of his seven section series, "Panorama of the Seat of War." Some soiling in right margin, one short tear in margin, archival reinforcement on back at right. Blind stamp from the publisher, A. Rumpf, in the bottom margin. Uncolored, with excellent topographic detail. This issue has 3 line tables of distances at the lower corners. This issue differs from an earlier printing by the addition of six place names (Baltimore, B&O Railroad, James River, Atlantic Ocean, Chesapeake Bay, Arlington Heights) and the correction of two misspellings (Annapolis Junction and Beltsville). Both issues were published in 1861, clearly around the time hostilities started, but do not show the locations of battles as the later panoramic series does.

No binding. Etat : Good. New York: Williams & Stevens, 353 Broadway, 1850. Tinted lithograph (21 ¾ x 30 ¼ inches) showing Union Square and Lower Manhattan, including Governors Island, parts of Brooklyn, Staten Island, and the Narrows. Backed on board and trimmed along lower margin, missing the publisher's line. Likely the RARE THIRD STATE of Bachmann's print: "The first state has the same imprint except that the publisher's line reads: 'Published by John Bachmann, 5 Rector St. N. York.' The print is otherwise identical except for a fine line framing the rectangle. Impressions of the Williams & Stevens issue exist with the date in the copyright line changed to 1850" (STOKES; see also REPS #2651). Landmarks include Grace Church (erected 1846-1847), Castle Garden (present-day Castle Clinton National Monument), and Castle Williams on Governors Island. REPS: "No finer artist of city views worked in America than John Bachmann. Unfortunately, there is no artist about whom less is known, for information concerning his life seems to be nonexistent. His name and its first appearance on a city view in 1849 strongly suggest that he was German and one of the many artists who came from that country in the middle and late 1840s as a result of political disturbances in their homeland.".

No binding. Etat : Very good. New York: Williams & Stevens, 353 Broadway, 1859. Lithograph with original hand color (17 ¼ x 22 ½ inches sheet; 27 ½ x 33 inches framed), showing New York City Hall, Broadway, and Park Row (formerly Park Place). Composition loosely based on Nathaniel Currier's View of the Park Fountain & City Hall N.Y. (1846; Gale #6930). Unrecorded by REPS but listed as #178 in STOKES Supplementary List of Prints, Drawings, etca. and described by DEAK: "Along the broad thoroughfare moves a smart array of carriages, coaches, and fashionably-dressed pedestrians. The fountain playing in the imperfect triangle of City Hall Park had now permanently replaced the temporary one erected there during the Croton Water Celebration that took place there in 1842. Beyond the fountain is City Hall itself, admired by residents and visitors alike for its architectural splendor: a successful adaptation of French Renaissance and American colonial influences.".

Tinted lithograph, 21 ¾" x 30 ¼" sheet. Drawn by the elusive John Bachmann - a preeminent figure in the history of American lithography - this early view of Union Square looking South has all the characteristics of his later prints: the elevated and imaginary viewpoint, diagonal composition, and a high level of detail in depicting New York landmarks such as the newly erected Grace Church. Yet the artist proposes an individualistic touch. The ships, for instance, are disproportionately tall and while the lines recede towards the battery and harbor of New York there is no doubt about the mannerist elements of Bachmann's compositional choices. It is indeed the bold foreshortening and perspectival play that make "New York" a true collector's item. As for the historical context of the depiction, Stokes (1918) describes Union Square and the urban growth of Lower Manhattan thus: "Union Square was created under the Commissioners' Plan of 1807, on which it appears as 'Union Place', and extended from 10th to 17th Street. (.) An application to the Legislature resulted in the passage of an act, on April 5, 1832, enlarging Union Place to its present size. The iron fence and other improvements were added in 1835 and 1836, and the fountain was constructed in 1842 at the time of the completion of the Croton Aqueduct. (.) In 1835 Washington Square and the surrounding streets formed the most fashionable residential quarters of the town. By 1849 this centre of fashion had moved still farther north, and Union Place had become a beautiful residential area. In 'New York Past, Present and Future' Belden describes Union Place as 'surrounded by splendid private mansions, some of which are of costly magnificence, and its vicinity is the most fashionable portion of the city.'" Lit. John William Reps: "Views and Viewmakers of Urban America: Lithographs of Towns and Cities in the United States and Canada, Notes on the Artists and Publishers, and a Union Catalog of Their Work, 1825-1925", Columbia 1984. Isaac Newton Phelps Stokes: "The Iconography of Manhattan Island", New York 1915-1928. #10165B.

"Handcolored broadsheet lithograph (34 x 25 in.; 86.4 x 63.5 cm). Floated on a linen mat, glazed, and framed. ONE OF THE EARLIEST BIRD'S EYE VIEWS OF NEW ORLEANS by the consummate artist and lithographer, John Bachmann. Bachmann emigrated from Europe in the late 1840s, producing his first city view of New York in 1849, followed by thirteen others of various cities-including New Orleans-between 1850 and 1851, which are considered by collectors and curators to be among his most accomplished. "No finer artist of city views worked in American than John Bachmann" (Reps). He portrayed cities "from imaginary viewpoints far above even the loftiest office building or church steeple [He] may not have been the first artist to apply in America this method, long used in Europe, of depicting cities, but his consistent use of the technique must have helped popularize it as a way of revealing the whole city in some detail, not merely the portion visible from the artist's easel" (Reps). When the Louisiana Purchase was finalized, Jefferson ordered a careful inventory to see what the country got for its twenty-seven million dollar purchase. "With New Orleans, the United States came into possession of an excellent port, an area of abundant resources, fourteen hundred houses, a population of ten thousand 'two very expensive brick stores,' a government house, stables and garden, a military hospital, a barracks, a large lot adjoining the king's stores, a prison, a town house, a market house, an assembly room a public school for the 'rudiments of the Spanish language,' a cathedral church unfinished,' a charitable hospital, and 'an ill-built customhouse'" (Deák). The inventory of 1851 as depicted by Bachmann includes the United States Marine Hospital built in the Spanish style. Seen across the horseshoe bend of the Mississippi are the Cabildo and the Cathedral of St. Louis at Jackson Square now complete with its tall spire. Paddle-wheel steamers-including the Natchez, America, Magnolia, Creole, and Belle-Key-and sailing ships crowd the river in the foreground and the perspective view of the city recedes toward distant Lake Pontchartrain. REFERENCES: Deák, American Views, Prospects & Vistas (1978), pp. 94-95; Reps, Views & Viewmakers in America, 1151 and pp. 160-161".