‎LEFEVRE FREDERIC‎
‎LE SOL‎

‎Vingt-deux leçons de solfège - Clés de sol et de Fa 4me imposées aux examens du Conservatoire royal de musique de Bruxelles de 1926 à 1939‎

‎Henry Lemoine & Cie, Editeurs, Paris/Bruxelles, 1954 et 1962. Deux plaquettes in-8, agrafées, 32 pp. et 42 pp. Joseph Jongen : Vingt-deux Leçons de solfège : clés de sol et de fa 4me imposées aux examens du Conservatoire royal de musique de Bruxelles de 1926 à 1939.J. Conrardy : Solfège Transcendant A changements de clés sur toutes les ...‎

‎ --- Plus d'informations sur le site archivesdunord.com‎

‎Ju-Jitsu au sol - Techniques de base et méthodes d'entrainement - Jiu ou Ju Jitsu‎

‎Editions Chiron Malicorne sur Sarthe, 72, Pays de la Loire, France 2006 Book condition, Etat : Très Bon broché, sous couverture imprimée éditeur vert turquoise, illustrée d'une photographie en couleurs grand In-8 1 vol. - 127 pages‎

‎très nombreuses photographies dans le texte en noir et blanc nouvelle édition, 2006 Contents, Chapitres : La garde au sol et les situations au sol - Atémis au sol - Les clés au sol - Les étranglements au sol - Les immobilisations au sol - Uke sur le dos - Tori sur le dos - Tori et Uke à genoux - Les liaisons debout-sol - Les liaisons sol-debout - les Méthodes d'entrainement - Lexique bel exemplaire, frais et propre‎

‎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

‎Bulletin de l'association française pour l'étude du sol - Science du sol - Relations sol/plante en milieu carbonaté (2eme partie)‎

‎Association française pour l'étude du sol Science du sol Broché 1980 In-8 (15.4 x 24 cm), broché, 96 pages, numéro 2 de l'année 1980, iconographie en noir et blanc in texte, quelques taches et marques d'usage sur les plats, bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎

‎DISQUE VINYLE 33T SOL CARIBE, AUROR DE PAZ, SOL NOCTURNO, CUANDO CANTA MI PUEBLO, SOL DE LIBERTAD, HIMNO AL SOL, VIRGENES DEL SOL, GATO EN SOL, CREPUSCULO COSTENO, COL FECUNDO, SOLES Y LUNAS.‎

‎ARION. non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Pochette illustrée en couleurs par HECTO MIRANDA. Himno al sol. Biographie de HECTOR MIRANDA à l'intérieur de la pochette et quelques photos en noir et blanc.. . . . Classification : 410-33 Tours‎

‎Disque n°ARN 34560 Classification : 410-33 Tours‎