‎GETTE PAUL ARMAND (né en 1927)‎
‎Colours etc.‎

‎CANADA.- From East to West. A Journey in Water-Colours.‎

‎Wienand Verlag, 1991. Album relié à l'italienne avec jaquette illustrée (24,5 x 32 cm), 72 pages, album de voyage en aquarelles. texte en anglais, illustrations en couleurs.- 670g.- Très bon état.‎

‎On the Theory of Compound Colours, and the Relations of the Colours of the Spectrum. - [MAXWELL ON THE RELATIONS OF COLOURS]‎

‎(London, Taylor and Francis, 1860). 8vo. In the original printed wrappers. In ""Proceedings of the Royal Society"", Vol. X [10], No. 39. Entire issue offered. Wrappers with a few brown spots, fine and clean. Pp. 404-408. [Entire issue: Pp. 319-494].‎

‎First printing of Maxwell's paper on a method of exhibiting the relations of colours.""Maxwell worked on the generation of white light by mixing different colors and in 1860, published the paper On the Theory of Compound Colours and its Relations to the Colours of the. In this paper, he extended the work of Thomas Young who first postulated only three colors, red, green and violet are necessary to produce any color including white and not all the colors of the spectrum are necessary as first illustrated by Newton. He also incorporated Hermann G?nther Grassman's concept that there are three variables of color vision (spectral color, intensity of illumination and the degree of saturation). Maxwell showed that these color variables can be represented on a color diagram based on three primary colors. While Newton distinguished his principal colors from the painters triad of primary colors (red, yellow and blue), he supposed the identity of mixing rule for lights and pigments. Even though Helmholtz explained that the mixture of color lights is an additive process while the mixture of pigments is a subtractive process as illustrated in Figure 2, Maxwell made experiments and developed a complete theory to explain how this happens by creating a color triangle which was originally suggested by James David Forbes and illustrated that any color can be generated with a mixture of any three primary colors and that a normal eye has three sorts of receptors as illustrated in his 1861 paper On the Theory of Three Primary Colours. He chose the three primary colors as red, green, and blue."" (Sarkar, Pp. 4-5). From 1855 to 1872, Maxwell published at intervals a series of valuable investigations concerning the perception of colour, colour-blindness and colour theory, for the earlier of which the Royal Society awarded him the Rumford Medal. The instruments which he devised for these investigations were simple and convenient to use. For example, Maxwell's discs were used to compare a variable mixture of three primary colours with a sample colour by observing the spinning ""colour top."".‎

‎Recueil comprenant : "Experiments on Colour, as Perceived by the Eye" [Et] "On the Theory of Compound Colours, and the Relations of the Colours of the Spectrum"‎

‎Edimbourg, Londres, 1855, 1860, in-4, 4 pièces en 1 volume, demi-chagrin noir moderne, Ce recueil ouvre sur les mémoires fondamentaux de James Clerck MAXWELL (1831-1879) sur la perception des couleurs, en éditions originales : - "Experiments on colour, as perceived by the eye, with remarks on colour-blindness". Extrait des Transactions of The Royal Society of Edinburgh, vol. XXI, part. II, 1855. Paginé 275 à 298. 1 planche en lithographie. - "On the theory of compound colours, and the relations of the colours of the spectrum". Extrait des Philosophical Transactions of the Royal Society of London, vol. 150, 1860. Paginé 57 à 84. 2 planches en lithographie. Le premier mémoire, lu le 19 mars 1855, est illustré d'une planche qui représente la toupie et les disques utilisés par Maxwell pour ses expériences au sein du laboratoire de J. D. Forbes à Édimbourg, un diagramme de couleurs selon le principe de Newton et un autre selon les expériences du Dr D.R. Hay, auteur d'un ouvrage de 1839 intitulé Nomenclature of Colours. Il inaugure une série de travaux publiés par le célèbre physicien sur la vision des couleurs et sur le daltonisme, à partir des expériences qu'il mena dès 1849 à Édimbourg et qui le conduisirent à confirmer l'hypothèse de Young : toutes les couleurs peuvent naître du mélange de trois couleurs du spectre, pourvu que l'on puisse additionner aussi bien que soustraire les stimuli lumineux. Le second article, lu devant la Royal Society le 22 Mars 1860, contient sa théorie définitive. Dans ce mémoire, illustré de deux planches de diagrammes, Maxwell décrit ses expériences et les instruments qu'il a mis au point pour les mener. La théorie des valeurs trichromatiques de Maxwell est considérée comme l'origine de la colorimétrie. Elle marque le retour de la physique et de la mesure de la lumière et de la couleur dans l'histoire scientifique. Sa méthode est à l'origine de la première photographie en couleurs, le cliché d'un ruban de tartan pris par Thomas Sutton, qu'il projette en 1861 devant un public où figure entre autres de Faraday. Les découvertes de Maxwell ont été récompensées par la médaille Rumford en 1860. Deux autres pièces ont été jointes à la suite : - George WILSON : "On the extent to which the received Theory of vision requires us to regard the eye as a camera obscura". Extrait des Transactions of The Royal Society of Edinburgh, vol. XXI, part. II, 1855. Paginé 327-347. Article qui a été publié à la suite des "Experiments on colour" de Maxwell. George Wilson, directeur du Musée Industriel d'Écosse, fut le premier à proposer une analyse statistique du daltonisme. Ses travaux ont servi à Maxwell pour ses recherches. - John William STRUTT, lord RAYLEIGH (1842-1919) : "On the colours of thin plates". Transactions of The Royal Society of Edinburgh, vol. XXXIII, 1885. Paginé 157-170. 1 planche dépliante en lithographie représentant un diagramme des couleurs. In fine a été rajoutée une planche dessinée à l'encre et légendée en français d'un diagramme de la série de couleurs. On joint, placée à la fin, une lettre manuscrite rédigée par un assistant bibliothécaire, John Hardy, au nom du Dr. Tscherning, secrétaire de la Royal Society of Edinburgh : elle s'adresse à son correspondant français, pour le dispenser de payer ces "soiled and broken copies" qui lui ont été envoyées. Quelques petits papillons manuscrits ont été contrecollés dans le second mémoire de Maxwell. DSB IX, pp. 200 et suiv. "James Clerck Maxwell" sur Colorsystem [en ligne]. Couverture rigide‎

‎Bon 4 pièces en 1 volume‎

‎Polychroma: The Meaning of Colours in Roman Sculpture.‎

‎<p>Collection "Bibliothèque d'histoire et d'archéologie".</p><p><meta charset="utf-8"><span>Long ignored, sometimes knowingly, since the idea of its presence went against the ideals of a white and pure ancient sculpture propagated post Winckelmann, the polychromy of classical and late sculpture and architecture has been the subject of important research programmes for thirty years. Within this field of study, the book focuses on the peculiarity of Roman imperial polychromy and its late developments (first century BC – sixth century AD) to investigate the technical features and the socio-cultural meaning of colours.</span><br><span>After an assessment of the studies on polychromy already carried out, this book presents the first results of the EU-MSCA-IF PolyCHRoMA project, which documented traces of colours not immediately visible (lost colours) through the physico-chemical analysis of a new corpus of sculptural and architectural elements from some major European and North African museums (Musées royaux d’Art et d’Histoire de Bruxelles, Musée royal de Mariemont, Musée départemental Arles antique, Musée Saint-Raymond de Toulouse, Museo Archeologico di Milano, Museo Nazionale e Museo Arcivescovile in Ravenna, Bardo National Museum and others Tunisian collections). The systematic chronological and contextual study of these traces, before time ensures the loss of colours, confirms that polychromy offers a new source for assessing the cultural meaning of colour at the turn of the first millennium.</span></p> Milan, 2024 Silvana 352 p., nombreuses photographies couleur, broché. 17 x 24‎

‎Neuf‎

‎Idées d'un Militaire pour la Disposition des Troupes confiées jeunes officiers dans la Défense et l'Attaque des Petits Postes. Dédié a M. le Duc du Chatelet. - [THE FIRST BOOK SUCCESSFULLY PRINTED WITH COLOURS]‎

‎Paris, de l'Imprimerie de Franc. Amb. Didot l'Ainé. Chez Alexandre Jombert, jeune, 1783. 4to. Nice contemp. red hmorocco with 5 raised bands and richly gilt compartments. Corners restored. Light scratching to boards.Stamps on htitle. A small stamp on titlepage.. (14), 116, 60 pp. + 11 leaves of plate-description, on which the plates are mounted at top, 2 pp. of approbation and privilege. On thick, good paper. A very nice, crisp and complete copy w. clear colours. Apart from the stamps on the htitle, a fine, large and clean copy. The dedication-leaf (A monsieur Le Duc du Chatelet) with his large engraved coat of arms handcoloured.‎

‎First edition of the main work of the French military engineer Fossé (1734 - 1812). This military work, divided into two sections, one dealing with military strategies concerning defending and attacking, the other dealing with military plans and how to construct maps, is especially renowned for the extraordinary coloured plates by LOUIS MARION BONNET.The plates, depicting plans and maps, show for one of the first times the perfection of the illustrating-process called the CRAYON MANNER adapted to colour-printing, and the work is probably the first book printed using this technique. The technique of printing with colour only began about 20 years before this work was issued during the first many years, though, many attempts failed, and it wasn't till Bonnet came up with the coloured crayon manner that it was really a success. Bonnet increased the number of plates in order to make it possible to print with several colours. The crayon manner became a great success in Europe and is a fore-runner of the lithography-process. All the plates are signed by Bonnet and are in at least four colours.This work is also renowned for its splendid typography that later on became known as the Didot-style. Graesse II:620. Brunet II:1354.‎