1751 books for « moore g »Edit

‎Mondes photographiques, histoires des débuts.‎

‎<meta charset="utf-8"><span>Véritable plongée dans la photographie dès son invention et hors des frontières de l'Europe, cet ouvrage propose une histoire polyphonique des débuts de la photographie mondiale.</span><br><br><span>Richement illustré, alternant découpages géographiques et thématiques transcontinentales, Mondes photographiques, histoires des débuts invite une cinquantaine d'auteurs des cinq continents à mettre en récit des expériences du médium et à redessiner des parcours de photographes souvent méconnus, qu'ils soient voyageurs ou originaires des pays abordés.</span><br><span>Approchant au fil des pages le travail des premiers photographes de Bombay ou de Madagascar, les daguerréotypes réalisés en Amérique du Sud ou encore les portraits des populations autochtones en Australie, le lecteur découvrira l'extraordinaire diversité des pratiques et des usages de la photographie à compter du XIXe siècle en différents lieux du monde.</span> Paris, 2023 Coédition Musée du quai Branly - Jacques Chirac/Actes Sud 400 p., illustré, cartonnage éditeur. 25 x 30,9‎

‎Neuf‎

‎Les Commencements de l'homme.‎

‎<p>Un exemplaire broché: 12 euros.</p> Paris, 1957 340 p., ill. et croquis N/B., relié toile. 15,5 x 21‎

‎Occasion‎

‎Léonard de Vinci. Peintre à la cour de Milan.‎

‎ Bruxelles, 2011 Fonds Mercator 320 p., illustrations couleur, relié. 24 x 32‎

‎Neuf‎

‎Principia Ethica. - [FOUNDING ANALYTIC PHILOSOPHY - INTRODUCING THE NATURALISTIC FALLACY]‎

‎Cambridge, 1903. 8vo. Orig. brown full cloth with gilt lettering to spine. Gilt armorial centre-piece to front board (indicating that this was a prize from ""Coll. di Joh. Bapt.""). A bit of bumping to capitals and corners, otherwise fine. Inner hinges slightly weak and a few marginal pencil annotations. XXVII, (1), 232 pp.‎

‎First edition of Moore's seminal magnum opus, his hugely influential ""Principia Ethica"", which helped found analytic philosophy and introduced and named the ""naturalistic fallacy"". ""Moore's ""Principia Ethica"" (1903) is a landmark in the history of ethics. Its impact and influence on subsequent ethical theory, at least in Anglo-American philosophy, have been tremendous. Its specific doctrines of the indefinability of good and of the naturalistic fallacy, whether reinforced, amended, or even rejected, by later theorists, have served as the starting points of much of twentieth century philosophy."" (Morris Weitz, 20th-Century Philosophy: The Analytic Tradition, (1966), p. 68).George Edward Moore (1873-1958) is one of the most influential twentieth century philosophers, and his contributions to analytic philosophy can be compared only to those of Russell, Wittgenstein, and Frege, with whom he founded this philosophical discipline. His impact on Anglo-American philosophy in the 20th century is unsurpassed. ""Principia Ethica"" is the most important of Moore's works. In this work, he makes use of analysis to establish the main doctrines of the book, and thereby lays one of the cornerstones of analytic philosophy. Moore here applies logic to ethics and shows us how this can provide a better foundation for ethics. Moore begins by showing that analysis will reveal to us that ""good"" is a simple, non-natural, and indefinable property, which cannot itself be defined and analyzed, because it is not a complex object that can be divided, but a simple object of thought and goes on to define ethics as an inquiry into what is good. He furthermore shows how sometimes false premises in the definition of good lead to false conclusions about ethical behavior and he introduces his seminal concept ""naturalistic fallacy"", which is defined as the error of assuming that ""good"" can be defined by naming various properties of things which we believe to be good. ""Naturalism"", according to Moore falsely assumes to have defined ""good"" and is therefore unable to provide any logical reason for any principle of ethics.""It appears to me that in Ethics, as in all other philosophical studies, the difficulties and disagreements, of which history is full, are mainly due to a very simple cause: namely to the attempt to answer questions, without first discovering precisely WHAT question it is which you desire to answer. "" (Moore, Preface, p. VIII). ""The influence [of ""Principia Ethics""] was not only overwhelming"" it was exciting, exhilarating, the beginning of a renaissance, the opening of a new heaven on a new earth, we were the forerunners of a new dispensation, we were not afraid of anything."" (Keynes).‎

‎The Refutation of Idealism. [Off-printed from MIND: a Quaterly Review of Psychology and Philosophy. Vol. XII., N.S., No. 48.]. - [THE FIRST CLASSIC TEXT OF REALISM - WITTGENSTEIN'S COPY]‎

‎[Aberdeen Univ. Press Limited, 1903]. 8vo. In the orig. printed wrappers (part of the collation)" wrapper with a bit of browning and minor brownspotting. 23 , (1) pp.‎

‎First edition, off-print - from the library of Wittgenstein -, of the first classic text of Realism, one of Moore's main works and a huge inspirational source for analytic philosophy.Off-prints of the present work are of great scarcity, and the present copy has been in the possession of Ludwig Wittgenstein, who was probably given the copy by Moore himself. Wittgenstein handed over some of his belongings, including a number of his books, to his life-long friend Ludwig Hänsel. Among these belongings was the present copy of Moore's influential work.Wittgenstein did not have many close friends, but the closest- together with Rudolph Koder- was Luwig Hänsel, who was a high-school teacher of German and literature. Hänsel and Wittgenstein, who befriended each other in 1918 while being war prisoners in Monte Casino, also remained close friends throughout their lives.George Edward Moore (1873-1958) is one of the most influential of twentieth century philosophers, and his contributions to analytic philosophy can be compared to only those of Russell, Wittgenstein and Frege, with whom he founded this philosophical discipline. His impact on Anglo-American philosophy in the 20th century must be said to be nearly unsurpassed, and his ""Refutation of Idealism"" constitutes his most important, influential, and consequential criticism of idealism.""""The Refutation of Idealism"" (1903) is the first classic text of Realism. Although ostensibly a refutation of the doctrine that ""to be is to be perceived"", which Moore took to be central in all arguments for the Idealist view that reality is spiritual, it is also a vindication of the common-sense notion that what is experienced is often distinct from and logically independent of our experience of it as well as a vindication of analysis as a method for discerning constituents of certain complexes in the world. Basic to Moore's refutation of Idealism is the rejection of the logical doctrine that all relations, including that of the object and subject of experience, are internal. Yellow and the sensation of yellow are not only distinct, but the latter also involves and external relation between consciousness which is mental and yellow which is not."" (Morris Weitz, edt., 20th-Century Philosophy: The Analytic Tradition, 1966, p. 14).For Wittgenstein, the question of idealism is absolutely central in most aspects of his philosophy, and this main work on the area must therefore have been of the utmost interest to him. When Wittgenstein claims that the limits of language are the limits of the world (the early Wittgenstein - Tractatus published 1921) and considers the possibility of private language (the later Wittgenstein - Philosophical Investigations - published 1953), it is continually idealism that is at stake, and the question of the idealism (or the refutation of idealism) in the works of Wittgenstein is a highly debated and often not agreed upon point. Wittgenstein must have read Moore's important work on the subject, before he wrote his own works, as it appeared many years earlier, and as he evidently had a copy of the off-print. ‎

‎The Nature of Judgment. [Off-printed from MIND: A Quarterly Review of Psychology and Philosophy. Vol. VIII., N.S., No. 30.]. - [FROM WITTGENSTEIN'S POSSESSION]‎

‎(April, 1899). 8vo. Unbound. A fine copy. 18 pp.‎

‎The very rare first edition, off-print, - from the library of Wittgenstein (not stated anywhere in the copy, but the copy comes from the descendents of Hänsel, who verify the provenance) - of one of Moore's main and most widely read papers, in which he discusses ""meaning"", analyzes truth and falsity, and departs from the generally accepted ideas of Bradley as well as from the essence of idealistic philosophy.Off-prints of the present work are of great scarcity, and the present copy has been in the possession of Ludwig Wittgenstein, who was probably given the copy by Moore himself. Wittgenstein handed over some of his belongings, including a number of his books, to his life-long friend Ludwig Hänsel. Among these belongings was the present copy of Moore's influential work.Wittgenstein did not have many close friends, but the closest- together with Rudolph Koder- was Luwig Hänsel, who was a high-school teacher of German and literature. Hänsel and Wittgenstein, who befriended each other in 1918 while being war prisoners in Monte Casino, also remained close friends throughout their lives.George Edward Moore (1873-1958) is one of the most influential of twentieth century philosophers, and his contributions to analytic philosophy can be compared to only those of Russell, Wittgenstein and Frege, with whom he founded this philosophical discipline. His impact on Anglo-American philosophy in the 20th century must be said to be nearly unsurpassed. The present paper constitutes one of Moore's earliest departures from idealistic philosophy and one of his his first severe criticisms of internal relations. He discusses the concepts of true and false and thereby also considers idealism in both Kantian and Bredleyan form, departing decisively from this philosophical direction. ""An important early context in which he elaborates it is his discussion of meaning in his famous paper 'The Nature of Judgement' (1899), which comes largely from his 1898 Dissertation. Moore begins here by attributing to Bradley a quasi-empiricist view of meaning as abstracted from the total content of judgement..."" (SEP). ‎

‎Illustrations of The Loves of The Angels a poem by Thomas Moore. Engraved by Charles Heath from drawings by R. Westall. ‎

‎ London, Longman Hurst, Rees, Orme, and Brown,1823. 24,5 x 16,5 cm, iv-134 pp. Relié demi-maroquin bleu nuit, dos à nerfs, caissons ornés, titre doré. Reliure signée Champs-Stroobants Sr. Quelques épidermures et traces de frottements sinon bel exemplaire.Édition illustrée rarissime, la notre comporte un portrait de Moore en frontispice, un titre gravé et 8 gravures dont deux en double état (avec texte et sans texte). Soit 11 gravures y compris le frontispice. Le tout imprimé sur beau papier. ‎

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‎Thomas Moore (né à Dublin le 28 mai 1779 - mort à Sloperton Cottage (Bromham, Wiltshire, Angleterre) le 25 février 1852) est un poète irlandais. Il voyage en Europe, notamment à Venise où Byron lui confie son journal. Entre 1820 et 1822, il est accueilli à Sèvres près de Paris par la famille de Martin de Villamil. Il est particulièrement connu pour ses "Irish Melodies" contenant 130 poèmes tels que The Minstrel Boy ou La dernière rose de l'été qui, mis en musique par Moore lui-même et Sir John Andrew Stevenson, sont emblématiques de l'Irlande, très appréciés et très souvent repris. Ils ont fait de Moore un héros populaire pour les nationalistes irlandais Son uvre a beaucoup marqué le compositeur Hector Berlioz qui lui emprunte le terme « mélologue ». Le peintre Gilbert Stuart Newton a réalisé un portrait de lui. En 1849, il tombe dans la démence sénile et meurt à Sloperton [archive] (Bromham, Wiltshire, Angleterre) le 25 février 1852. ‎

‎The Nature and Reality of Objects of Perception. Reprinted from the ""Proceedings of the Aristotelian Society,"" 1906. - [FROM WITTGENSTEIN'S POSSESSION]‎

‎London, 1906. 8vo. Original printed wrappers. Spine-strip repiared and with a bit of minor loss. A bit of bumping to extremities and a closed tear with no loss to back wrapper. No soiling or markings. 60 pp.‎

‎The very rare first edition of the separate re-print - from the library of Wittgenstein (not stated anywhere in the copy, but the copy comes from the descendents of Hänsel, who verify the provenance) - of this essential paper, which also played a great rôle for Wittgenstein.Off-prints of the present work are of great scarcity, and the present copy has been in the possession of Ludwig Wittgenstein, who was probably given the copy by Moore himself. Wittgenstein handed over some of his belongings, including a number of his books, to his life-long friend Ludwig Hänsel. Among these belongings was the present copy of Moore's influential work.Wittgenstein did not have many close friends, but the closest- together with Rudolph Koder- was Luwig Hänsel, who was a high-school teacher of German and literature. Hänsel and Wittgenstein, who befriended each other in 1918 while being war prisoners in Monte Casino, also remained close friends throughout their lives.George Edward Moore (1873-1958) is one of the most influential of twentieth century philosophers, and his contributions to analytic philosophy can be compared to only those of Russell, Wittgenstein and Frege, with whom he founded this philosophical discipline. His impact on Anglo-American philosophy in the 20th century must be said to be nearly unsurpassed. The present work constitutes one of his most important contributions to philosophy, touching of several of the points that form the fundamental questions of e.g. Wittgenstein's ""Tractatus"""" for instance: what lies behind that which we see in the world? What can we say about it? And how? Or for Wittgenstein's ideas of e.g. private language: One of the main questions put forth here by Moore is: ""How do we know that there are any other people, who have perceptions in some respects similar to our own?"" (p. 2).""There are two beliefs in which almost all philosophers, and almost all ordinary people are agreed. Almost everyone believes that he himself and what he directly perceives do not constitute the whole of reality: he believes that ""something"" other than himself and what he directly perceives ""exists"" or is ""real"". (p. 1).There is no doubt that the essential questions put forth in the present paper have been of interest to Wittgenstein, and there is no doubt that Wittgenstein has read the present paper. In a letter to Russell from 1913 Wittgenstein writes: ""... By the way - would you be so good and send me two copies of Moore's paper: ""The Nature and Reality of Objects of Perception"" which he read to the Aristotelian Soc. in 1906. I am afraid I can't yet tell you the reason why I want two copies but you shall know it some day. If you kindly send me the bill with them I will send the money immediately after receiving the Pamplets..."" (L. Wittgenstein, Cambridge Letters, Blackwell Publishers, 1995).‎

‎Proof of an External World. Annual Philosophical Lecture Henriette Hertz Trust British Academy. - [""MOORE'S MOST FAMOUS PAPER""]‎

‎London, Humphrey Milford, 1939. 8vo. Offprint in the original printed wrappers. Uncut. Ex-libris [Danish philosopher Carl Henrik Koch] pasted on to verso of front wrapper. Wrappers with various nicks and bumped corners and some miscolouring to boarders. Internally with a few occasional very light pencil markings in margin. 30. (1) pp.‎

‎First edition of Moore's important paper on the existence of an external world. In ""Moore's most famous paper, his 'Proof of an External World' [...] [he] sets himself the task of doing what Kant had earlier set himself to do, namely providing a proof of the existence of 'external objects'. Much of the lecture is devoted to working out what counts as an 'external object', and Moore claims that these are things whose existence is not dependent upon our experience. So, he argues, if he can prove the existence of any such things, then he will have proved the existence of an 'External World'. Moore then maintains that he can do this""(SEP): ""By holding up my two hand, 'Here is one hand' and adding, as I make a certain gesture with the left, 'and here is another'.(p. 25). [...] But did I prove just now that two human hands were then in existence? I do want to insist that I did" that the proof which I gave was a perfectly rigorous one" and that it is perhaps impossible to give a better or more rigorous proof of anything whatever"".‎

‎Photographie en tirage argentique en noir et blanc de Sir Roger Moore pour la diffusion télévisée du film " The Naked Face " sur TF1 en 1990.‎

‎ Photographie en tirage argentique en noir et blanc de Sir Roger Moore pour la diffusion télévisée du film " The Naked Face " diffusée sur TF1 en 1990. Format 17,5 x 12,5 cm. Cachet de l'agence Kipa et notes de la chaîne, collées au verso. Etat superbe. Sir Roger Moore est un acteur britannique, né le 14 octobre 1927. Il fut à l'écran : Ivanhoé, Simon Templar alias le Saint, Lord Brett Sinclair dans amicalement vôtre, avant d'interprèter James Bond - succédant à Sean Connery et George Lazenby - dans sept opus de la série de films entre 1973 et 1985. En hommage à sa carrière cinématographique, il fut anobli par la reine Élisabeth II le 14 juin 2003.La Machination ( The Naked Face ) est un film américain réalisé et scénarisé par Bryan Forbes, sorti en 1984. On trouve dans les rôles principaux : Roger Moore, Rod Steiger, Elliott Gould, Anne Archer.‎

‎ Site Internet : Http://librairie-victor-sevilla.fr.Vente exclusivement par correspondance. Le libraire ne reçoit, exceptionnellement que sur rendez-vous. Il est préférable de téléphoner avant tout déplacement.Forfait de port pour un livre 7 €, sauf si épaisseur supérieure à 3 cm ou valeur supérieure ou égale à 100 €, dans ce cas expédition obligatoire au tarif Colissimo en vigueur. A partir de 2 livres envoi en colissimo obligatoire. Port à la charge de l'acheteur pour le reste du monde.Les Chèques ne sont plus acceptés.Pour destinations extra-planétaire s'adresser à la NASA.Membre du Syndicat Lusitanien Amateurs Morues‎

‎BACKWÖRKS ‎

‎ 1978 -Catalogues n°C, 1978, 430x290mm, 8p. en feuilles: Our line of very expensive Merchandise.Oeuvres de Robert Filliou, Daniel Spoerri, AY-O, George Brecht, John Cage, Red Grooms, Scott Hyde, Ray Johnson, Al Hansen, Joe Jones, Allan Kaprow, Alison Knowles, Yoko Ono, Ben Patterson, Takako Saito. Illustré de photographies de Joanne Stamerra et Peter Moore.-Catalogue L115, 10/79, 355x216mm, 8p., agrafé: The Something Else Press.Description de 81 numéros de livres et documents de cette illustre maison d’édition fondée et dirigée par Dick Higgins.-Une carte de visite du 488 Greenwich st avec une photographie de Dick Higgins, format 79x49 mm.-Une feuille promotionnelle 275x213mm : “Backworks documents and relics of experimental art 488 Greewich st. NY 10013 Jon Hendicks Barbara Moore”, sur fond photographique montrant Jon Hendricks et Barbara Moore assis au bord des fenêtres de leur galerie. (103738) ‎

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‎Fondée et dirigée par Barbara Moore et Jon Hendricks la Librairie Backworks (1976-1981) proposait au 488 Greenwich Street à New York, des oeuvres d’artistes d’avant garde la plupart appartenant au mouvement Fluxus. Les 4 documents.(103738) ‎

‎The Gamester. A tragedy: Written by Mr. Moore. As it is performed at the Theatre-Royal in Drury-Lane.‎

‎London, printed and sold by H. Whitworth, at no. 3, Play-house-yard, Black-Friars, (1784), Blank wrappers, 58 + (2) pp. Last page torn and stained.‎

‎Edward Moore (1712-1757), English dramatist. It is upon The Gamester that Moore's literary reputation rests the play was much-produced in England and the United States in the century after Moore's death.‎

‎Identity. Reprinted from the ""Proceedings of the Aristotelian Society,"" 1901. - [FROM WITTGENSTEIN'S POSSESSION]‎

‎(London), 1901. 8vo. Blank light brown wrappers"" a very nice and clean copy. 25 pp.‎

‎First edition, separate re-print - from the library of Wittgenstein (not stated anywhere in the copy, but the copy comes from the descendents of Hänsel, who verify the provenance) - of this interesting paper in which Moore establishes his theory about the nature of the world.The present work is extremely difficult to find separately, and the present copy has been in the possession of Ludwig Wittgenstein, who was probably given the copy by Moore himself. Wittgenstein handed over some of his belongings, including a number of his books, to his life-long friend Ludwig Hänsel. Among these belongings was the present copy of Moore's influential work.Wittgenstein did not have many close friends, but the closest- together with Rudolph Koder- was Luwig Hänsel, who was a high-school teacher of German and literature. Hänsel and Wittgenstein, who befriended each other in 1918 while being war prisoners in Monte Casino, also remained close friends throughout their lives.George Edward Moore (1873-1958) is one of the most influential of twentieth century philosophers, and his contributions to analytic philosophy can be compared to only those of Russell, Wittgenstein and Frege, with whom he founded this philosophical discipline. His impact on Anglo-American philosophy in the 20th century must be said to be nearly unsurpassed. With his ""Identity"" he sets out to establish what the world really is and does so by disposing of most generally accepted theories about the nature of the world.""A am very anxious it should not be thought that the subject of this paper is of merely departmental interest. What I have to say is not addressed to those who are interested in any particular science, such as logic, definition, or psychology, but to all who are interested in the question what the world is. It appears to me that if what I say shall be true, most of those theories about the nature of the world, which are of the most general interest and which attract the most disciples for the various schools of philosophy, must be either false or purely chimerical."" (p. (1)). ‎

‎Experience and Empiricism. Reprinted from the ""Proceedings of the Aristotelian Society,"" 1903. - [FROM WITTGENSTEIN'S POSSESSION]‎

‎(London), 1903. 8vo. Stitched, unbound. A fine copy. 16 pp.‎

‎First edition, separate re-print - from the library of Wittgenstein (not stated anywhere in the copy, but the copy comes from the descendents of Hänsel, who verify the provenance) - of this most fundamental question of philosophy, which for Moore, as well as for Wittgenstein, was at the core of philosophical thought.The present work is extremely difficult to find separately, and the present copy has been in the possession of Ludwig Wittgenstein, who was probably given the copy by Moore himself. Wittgenstein handed over some of his belongings, including a number of his books, to his life-long friend Ludwig Hänsel. Among these belongings was the present copy of Moore's influential work.Wittgenstein did not have many close friends, but the closest- together with Rudolph Koder- was Luwig Hänsel, who was a high-school teacher of German and literature. Hänsel and Wittgenstein, who befriended each other in 1918 while being war prisoners in Monte Casino, also remained close friends throughout their lives.George Edward Moore (1873-1958) is one of the most influential of twentieth century philosophers, and his contributions to analytic philosophy can be compared to only those of Russell, Wittgenstein and Frege, with whom he founded this philosophical discipline. His impact on Anglo-American philosophy in the 20th century must be said to be nearly unsurpassed. ‎

‎The Loves of The Angels a poem.4th ed.,The fourth édition [with notes].ILLUSTRED : Illustrations of MOORE, Thomas The Loves of The Angels. London: Longman 1823‎

‎ 1823 London: Longman Hurst, Rees, Orme, and Brown,1823.reliure plein maroquin vert, dos decoré de caissons dorés à lyre,plats ornés d'une frise dorée,tranches dorées. x, 148 pages 21 cm,édition illustrée rarissime : titre illustré et 3 gravures ht. Full calf, 8.5 inches tall. A stunning Georgian binding with wide gilt raised bands, label, fine gilt tooling to the panels and dentelles. The remarkable boards have a central panel framed by plain calf and gilt and blind rolls on an inked calf background. A ink owners inscription on the first blank.De la bibliothéque de Mme SAINTE BEUVE, carte manuscrite jointe.BON ETAT.‎

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‎Contemp. full calf with blind- and gilt-stamped decorations. First edition. - Very good copy in a beautiful binding.This is an unusual edition, written whilst Moore was living in Paris, and based on the same theme as Lamartine's 'Chute d'un ange' - published the same year as the English edition. English text. ‎

‎The loves of the angels, a poem [relié avec] The Island; or, Christian and his comrades [relié avec] The age of bronze; or, Carem seculare et annus haud mirabilis [relié avec] Rhymes on the road, fables, etc. [relié avec] The vision of judgment. By Quevedo Redivivus. Suggested by the composition so entitled by the author of "Wat Tyler".‎

‎Paris, Galignani, 1823 / 1822. In-12 de [2]-119; [2]-95; [2]-38-[2]; XII-135; [2]-56 pages, demi-veau blond à petits coins, dos lisse orné de filets, roulettes et titre ("Byron - Poêmes") dorés, étiquette de titre caramel. Petites galeries de vers, rares rousseurs. Ex-libris Charles de Constant-Rebecque. ‎

‎ Un verset du sixième chapitre de la Genèse inspira l’idée de "The loves of the angels" à Moore, en même temps qu’il donna à Byron le motif d’un poème. Le mystère de lord Byron ("Heaven and Earth, a mystery") parut peu de temps avant que Moore ne publie son poème. Deux poètes amis écrivant sur le même sujet, voici ce qui explique la présence du poème de Moore dans une reliure dédiée à Byron, de même que la présence ici de "Rhymes on the road" s'explique par la dédicace à Byron. L'Age de bronze, est la satire du congrès de Vérone (1822), quant à "The vision of judgment" c'est une réponse satirique (écrite sous le nom de Quevedo "recyclé", poète espagnol du XVIIe siècle, connu pour ses satires tranchants) à la Vision du Jugement de Robert Southey publié en 1820 à la mémoire de George III. 3 texte de Byron, 2 de Moore. ‎

‎Henry Moore. Exposition organisée par le British council et le Musée National d'Art Moderne.‎

‎ Paris, Musée d'Art Moderne, 1949 ( Imprimé à Londres) ; plaquette grand in-8°,brochée, couverture illustrée en couleurs aux 2 plats d'une composition de Moore ; (36)pp.; frontispice ( portrait de Henry Moore) et 23 reproductions photographiques de ses oeuvres, dont 2 en couleurs.‎

‎Ce catalogue renferme 108 références ( sculptures et projets dessinés). Introduction par Herbert Read.On a joint deux coupures de presse de mars et avril 1961, sur Henry Moore au Musée Rodin. (CO2) ‎

‎TRAITS N° 1 à 9, n°11.‎

‎Paris 1947 10 Paris, Le cercle des arts de l'Union de la jeunesse républicaine de France, 1947-1952, formats et présentations divers.Publication artisanale, dirigée par F.Giusti, entièrement manufacturée par de jeunes artistes et des étudiants en art appartenant à v l'Union de la jeunesse républicaine de France proche du parti communiste français, TRAITS paraît à des dates difficiles à déterminer. Ses huit premiers numéros sont présentés dans des chemises aux couvertures illustrées notamment de bois gravés et de collages. Louis Aragon, Paul Colin, Gimond, Francis Jourdain, Fernand Léger, Marcel Lods, André Marchand, Matisse, Léopoldo Mendez, Henry Moore, Paul Nelson, Richard J. Neutra, Auguste Perret, Paul Eluard, Marcel Gromaire, Le Corbusier, Pablo Picasso, Candido Portinari, Marc Saint-Saëns y collaborèrent. (104416) ‎

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‎Détail des parutions :-N°1 : Avril 1947, 299x208mm, 3ff.ronéotées agrafées. Paul Nelson, Dina Vierny-N°2 : sans date, 270x209mm, 6ff. ronéotés agrafés. Paul Colin, André Marchand, Francis Jourdain.Les numéros 1 et 2 se présente dans une chemise en papier fort, la couverture illustrée d’après une gravure sur bois.-N°3 : Janvier 1948, 302x241mm, 8p.. : André Mercier Masson, Urbanisme et économie-Reconstruction. Sous couverture en papier fort 399x298mm, illustrée.-N°4 : sans date, 299x278mm, 8p. sous couverture de Fernand Léger ; Auguste Perret, Richard Neutra, Marcel Lods, Marcel Gimond. Sous chemise à découpe 399x298mm.-N°5 : sans date, 332x299mm, 8p, en feuilles sous couverture de Gromaire. Aragon, Le Corbusier, Gromaire, Gil.-N°6 : sans date, 302x271mm, 8p. Avec Picasso à Vallauris, avec les peintres italiens à Rome, avec les étudiants d’architecture à Londres. Gil, Picasso, Claude Mendelovic, illustration de Consagra. Sous chemise en papier fort 398x298mm, illustrée d’un montage de Picasso d’après la lithographie « Tête de femme » (Bloch 384).-N° 7 :314x268mm, 12p.Spécial Henry Moore. Matériaux pour une peinture vivante, Marc Saibt-Sens, Claude Mendelovic, Mexique par Leopold de Mendez. Sous chemise en papier fort illustrée d’un montage d’après Henry Moore.-N°8 : Mars 1950, 400x305mm, 8p., en feuilles sous couverture illustrée de Portinari. Un article et une illustration inédite pleine page d’Henri Matisse. Un dessin inédit de Le Corbusier.Les numéros 1 à 8 sont présentés dans un portefeuille d’éditeur dont la couverture reprend le dessin de Matisse du n°8 et comporte une bande-annonce de présentation. Il a été plastifié ultérieurement pour la conservation.-N°9 : 320x254mm, 16p., en feuilles sous couverture de Picasso. Roland Predieri, Leopold Vitorge, Picasso, Mittelberg (TIM) par Henri Spitalnik.-N°11 : 300x240mm, 8p., + supplément « Traits-soir » 4p. Spécial Allemagne, artistes d’Allemagne de l’Est, Ecole de Weimar.Quelques défauts. La fabrique de l'histoire de l'Art p.274-275 ; l’exemplaire de la bibliothèque Kandinsky présente la même collation ne comportant pas de n°10. ‎

‎Poésie complète - Licornes et sabliers. ‎

‎ José Corti, 2004. In-8 broché, couverture photographique. ‎

‎Selon Marianne Moore, la poésie se doit de créer " une place pour l'authentique ", qui ne peut se trouver que dans le monde et non dans l'individu. Raison pour laquelle, le public, habitué à une poésie plus directement accessible parce que personnelle et intimiste, a pu être durablement dérouté par cette écriture toute en technique, en intellectualisme et en esprit, dont le " fini " fascinait ses pairs. Moore entend pousser le lecteur à accepter la relation entre grand et petit, entre animé et inanimé, entre idéal et objet. Dans la lignée de Pound et Eliot, elle fait de l'art avec de l'art, que ce soit à partir d'objets rares et précieux, de gravures ou de miniatures, d'animaux étranges ou fabuleux. Elle a recours à des rapprochements en apparence incongrus et qui pourtant, par le subterfuge de son écriture, s'imposent comme une évidence. L'introduction d'un humour vivace et éclairé contribue à l'équilibre précaire du poème moorien qui menace à tout moment de s'effondrer et qui, au contraire, affiche une miraculeuse solidité, à la manière de l'improbable pont suspendu de Brooklyn... Etudiante, Marianne Moore présentait la création poétique comme l'art de créer des " hiboux imaginaires dans des forêts imaginaires ". Quelques années plus tard, et l'évolution est significative et instructive, elle concevra la poésie comme un " jardin imaginaire avec de vrais crapauds dedans ". Traduction de Thierry Gillyboeuf. * La librairie la Bergerie est sur le point de déménager - c'est la raison pour laquelle nous vous proposons jusqu'à la fin de l'année une remise de 10% sur tout le stock (pour les ouvrages encore en rayons) et de 20% sur ceux qui, déjà mis dans les cartons de déménagement, ne pourront être livrés qu'en début d'année prochaine. La remise sera déduite des prix affichés *‎

‎Henry Moore : Catalogue of Graphic Work, 1931-1972.‎

‎Geneva Gérald Cramer 1973 1 vol. relié fort vol. in-4, cartonnage sous jaquette illustrée, non paginé, 206 numéros décrits et reproduits à pleine page en noir et en couleurs, index. Premier volume du catalogue raisonné de l'oeuvre gravé de Henry Moore, pour la période 1931-1972, établi par Gérald Cramer, Alistair Grant et David Mitchinson. Texte anglais-français-allemand. Très bon état.‎

‎Henry Moore Maquetten = Henry Moore Maquettes.‎

‎München Bruckmann Pantheon Edition 1978 1 vol. relié in-4, cartonnage sous jaquette illustrée, 100 pp. (jaquette déchirée et renforcée au scotch), nombreuses reproductions en noir et en couleurs. Texte trilingue allemand-anglais-français. Cartonnage et intérieur en bon état.‎

‎Shelter Sketch book‎

‎ Londres, éditions Poetry,s.d.[1940]. In-12, non paginé, cartonnage éditeur de toile écrue, pièce de titre noire sur le premier plat, jaquette originale illustrée (petites déchirures de la jaquette). ‎

4 Images

‎Édition originale de ce carnet reproduisant 82 dessins effectués par le sculpteur Henry Moore durant le blitz de Londres par les forces nazies. Exécutés entre 1940 et 1942, ces dessins proviennent de deux carnets sur lesquels Moore a représenté les britanniques dans les abris anti bombardements du métro londonien ainsi que quelques scènes d'extérieur de décombres. Moore se rendait dans le métro et observait la curieuse tension existante dans les abris, notait les scènes qui lui semblait les plus intéressantes pour pouvoir les dessiner le lendemain. L'ouvrage est orné sur la première page d'un fac similé de la signature de l'artiste et la date d'octobre 1940. Voir photographie(s) / See picture(s) * Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte du lundi au vendredi de 14h à 19h. Merci de nous prévenir avant de passer,certains de nos livres étant entreposés dans une réserve. ‎

‎Les Archives D'alan Moore - Skizz‎

‎2012, soleil, us comics, in-4 cartonné de 100 pages, couverture noire illustrée, Les Archives D'alan Moore - Skizz, planches en noir et blanc, «Skizz, un interprète extraterrestre atterrit sur notre planète. Son vaisseau s'autodétruit afin de ne pas tomber dans de mauvaises mains. Skizz est sauvé des griffes des militaires par une jeune femme nommée ROXY. Mais le E.T d'Alan Moore n'est pas celui de Spielberg ... « | Etat : Très bon état (Ref.: G5737)‎

‎Soleil‎

‎Les trésors d'Alan Moore - La ballade de Halo Jones‎

‎2011, soleil, us comics, in-4 cartonné de 200 pages, couverture bleue illustrée, Les trésors d'Alan Moore - La ballade de Halo Jones, l'intégrale, «Une grande saga de science-fiction féministe ! Halo Jones. 17 ans. Ni brave, ni sur intelligente, ni particulièrement forte : juste une jeune fille ordinaire qui a échappé à Manhattan, la cité des péchés, pour plonger au cœur d'une aventure cosmique qui l'entraînera aux limites de la galaxie. L'une des premières œuvres majeures d'Alan Moore, parue aux débuts des années 80 dans l'hebdomadaire 2000 AD ! « | Etat : Très bon état (Ref.: G5902)‎

‎Soleil‎

‎Concerning Transcendentally Transcendental Functions.‎

‎Leipzig, B.G. Teubner, 1896. 8vo. In ""Mathematische Annalen, 48. Band, 1-2 Heft, 1896"". In the original printed wrappers, without backstrips. Wrappers with a few nicks and some brownspotting to front wrapper and title page. Library stamp to verso of title page. [Moore:] Pp. 49-74. [Entire issue: IV, 240 pp. + 1 folded plate].‎

‎First printing of Moore probe of the theory of functions produced a clarified treatment of transcendentally transcendental functions.""Rigor and generalization characterized the mathe-matical research of Moore. His research fell principally into the areas of (1) geometry" (2) algebra, groups, and number theory (3) the theory of functions" and (4) integral equations and general analysis. Among these he emphasized the second and fourth areas. In geometry he examined the postulational foundations of Hilbert, as well as the earlier works of Pasch and Peano. He skillfully analyzed the independence of the axioms of Hilbert and formulated a system of axioms for n-dimensional geometry, using points only as undefined elements instead of the points, lines, and planes of Hilbert in the three-dimensional case. During his investigation of the theory of abstract groups, he stated and proved for the first time the important theorem that every finite field is a Galois field (1893). He also discovered that every finite group G of linear transformations on n variables has a Hermitian invariant (1896-1898). His probe of the theory of functions produced a clarified treatment of transcendentally transcendental functions and a proof of Goursat’s extension of the Cauchy integral theorem for a function without the assumption of the continuity of the derivative."" (DSB).‎