‎EVENEPOEL Henri Jacques‎
‎Au square‎

‎ROCC. Catalogue of the exhibition of Russian art. Belgrave Square London. June‎

‎ROCC. Catalogue of the exhibition of Russian art. Belgrave Square London. June 4 to July 13 1935. 2nd edition. Catalogue of the exhibition of Russian art. Belgrave Square London. June 4 to July 13 1935. Second ed. London: Oliver Burbridge 1935./ROKK. Katalog vystavki russkogo iskusstva. Belgreyv-skver London. s 4 iyunya po 13 iyulya 1935 g. 2-e izd. Catalogue of the exhibition of Russian art. Belgrave Square London. 4th June to 13th July 1935. Second ed. London: Oliver Burridge 1935. ROCC. Catalogue of the exhibition of Russian art. Belgrave Square London. June 4 to July 13 1935. 2nd edition. Catalogue of the exhibition of Russian art. Belgrave Square London. June 4 to July 13 1935. Second ed. London: Oliver Burbridge 1935. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUbd-f1f58c8bf0840599.‎

‎HIP TO BE SQUARE / Situ dans le quartier historique du Mont des Arts, Square est un nouveau monument remarquable dans le centre de Bruxelles.‎

‎BE, Mercatorfonds / Fonds Mercator, 2010 Paperback, 208 pages, Format: 36,5 x 28 cm, 1780 illustations in full colour,. Text in NL/ FR /ENG. ISBN 9789061538844.‎

‎Situated in the historic Mont des Arts district, SQUARE is a shining new landmark in the centre of Brussels. Its taken vision, tenacity and years of hard work to transform the massive, run-down Palais des Congres into an inspirational international meeting centre for the 21st century. SQUARE is housed in an elegant, architecturally significant building originally constructed for the 1958 World Expo. Many of the original features, such as expansive murals by Belgian masters Paul Delvaux, Rene Magritte and Louis van Lint, have been carefully restored and renovated, and are now juxtaposed with contemporary design conceived by a team of leading European designers. Theres a confident understatement in all the finishes and furnishings, a commitment to function combined with a strong appreciation of form. From its elevated position, the views from the new meeting centre are magnificent, sweeping over the rooftops of the historic centre, offering inspiration to the mind. This is the story of a total makeover, in 150 spectacular photographs and with literary impressions by Caroline Lamarche, Annelies Verbeke and Christophe Deborsu. Of how an area steeped in the past will be shaping the future, of Brussels and the wider world. Met literaire bijdragen van Annelies Verbeke en Caroline Lamarche‎

‎3me arrondissement - Sainte-Elisabeth - square du temple - rotonde du temple - archives de l'empire - conservatoire des arts et métiers - notre dame de bonne nouvelle - square du conservatoire... - Tiré du livre Paris-Album historique et monumental.‎

‎Administration et Bureaux. 19e. In-8. En feuillets. Etat d'usage, Livré sans Couverture, Dos abîmé, Papier jauni. Paginé de 103 à 134 - nombreuses gravures en noir et blanc dans le texte - livré sans couverture, en feuillets.. . . . Classification Dewey : 908.4434-Régionalisme : Ile-de-France‎

‎Sainte-Elisabeth - square du temple - rotonde du temple - archives de l'empire - conservatoire des arts et métiers - notre dame de bonne nouvelle - square du conservatoire - théatre du prince impérial - école turgot - saint denis du saint sacrement - imprimerie impériale - synagogue des juifs - saint nicolas des champs - théatre dejazet - saint françois d'assises. Classification Dewey : 908.4434-Régionalisme : Ile-de-France‎

‎Geometric Figures & Color. Sol LeWitt. Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue‎

‎LeWitt, Sol: Geometric Figures & Color. Sol LeWitt. Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue. New York: Harry N. Abrams, 1979. Signed by the artist on the title page. 48 pages of illustrations. Paperback. 21 x 21cms. Lewitt conceptually explores: 'Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue.' The book is divided into three sections, each of which differ by background color. Barbara M. Reise wrote that 'LeWitt's colours, like his lines and squares, are like 'facts': they are inert, pre-established, accepted and un-emotional man-made constructs which can 'come to life' within a present context but do not necessarily do so. Red, yellow, blue, and black (and the white of wall or paper) are standard 'absolute primaries basic to all pigment colour - that is according to the colour system accepted by an art academic from early 19th-century theorists like Chevreul. Unlike the Newtonian rainbow-spectrum based on light-waves, this theoretical structure is more conceptually mathematical and tautological than referential to some exterior and inhuman Nature. LeWitt's use of these colours is as flatly complete, physical, and self-reflective as the theory itself. Unlike Seurat, whose use of the same colour theories was subordinated and interrelated to other interests in proportion theories and (seen) scene subject-matter, LeWitt uses colour as both the subject and the object of his art' (in: 'Sol Lewitt Critical Texts,' ed. Adachiara Zevi, Rome, 1994, p. 188).‎

‎Lewitt conceptually explores: 'Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue.' The book is divided into three sections, each of which differ by background color. Barbara M. Reise wrote that 'LeWitt's colours, like his lines and squares, are like 'facts': they are inert, pre-established, accepted and un-emotional man-made constructs which can 'come to life' within a present context but do not necessarily do so. Red, yellow, blue, and black (and the white of wall or paper) are standard 'absolute primaries basic to all pigment colour that is according to the colour system accepted by an art academic from early 19th-century theorists like Chevreul. Unlike the Newtonian rainbow-spectrum based on light-waves, this theoretical structure is more conceptually mathematical and tautological than referential to some exterior and inhuman Nature.. LeWitt's use of these colours is as flatly complete, physical, and self-reflective as the theory itself. Unlike Seurat, whose use of the same colour theories was subordinated and interrelated to other interests in proportion theories and (seen) scene subject-matter, LeWitt uses colour as both the subject and the object of his art' (in: 'Sol Lewitt Critical Texts,' ed. Adachiara Zevi, Rome, 1994, p. 188). Text in English‎

‎Woodturning n°140- September 2004-Sommaire: all square make a square edged platter- include bark in turning- turn a cheese & biscuit platter- how to use a spindle roughing gouge- original concept the work of Donald Derry.‎

‎Guild of master craftsman publication. 2004. In-4. Broché. Bon état, Coins frottés, Dos frotté, Intérieur frais. 95 pages. Texte en anglais. Nombreuses illustrations et photos en couleurs, in et hors texte. Rares rousseurs.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Sommaire: all square make a square edged platter- include bark in turning- turn a cheese & biscuit platter- how to use a spindle roughing gouge- original concept the work of Donald Derry. Classification Dewey : 420-Langue anglaise. Anglo-saxon‎