БОЈАН КОВАЧЕВИЋ АРХИТЕКТУРА ЗГРАДЕ ГЕНЕРАЛШТАБА Нонографска студија дела Николе Добровића НИЦ `ВОЈСКА` БЕОГРАД 2 О О 1 а) АРХИТЕКТУРА - ЗГРАДЕ ГЕНЕРАЛШТАБА б) МОНОГРАФСКА СТУДИЈА ДЕЛА НИКОЛЕ ДОБРОВИЋА ......................................................... MANIFEST / M A N I F E S T / MANIFEST ZA ODBRANU ZGRADE GENERALŠTABA VOJSKE JUGOSLAVIJE ZGRADA GENERALŠTABA ... Izvanredna studija/momografija arhitekte BOJANA KOVAČEVIĆA o Zgradi Generašaba vojske Jugoslavije koju je NATO pakt u vandalskom napadu bombarodovao u noći 29 i 30 aprila 1999. godine i teško oštetio! ... Zgrada Generalštaba je arhitektonsko remek delo arhitekte NIKOLE DOBROVIĆA i jedini preostali živi arhitekstonski simbol arh. NIKOLE DOBROVIĆA u Srbiji! ... Vlast (i ova i prethodna) imale su i imaju SKRIVENU nameru da ovo arhitektonsko remek-delo sruše/poruše ili prodaju nekoj belosvetskoj kompaniji koja bi u tom izuzetnom beogradskom gradskom jezgru podigla neki šop centar, kakvih je hiljadu i hiljadu širom sveta, ali je JEDAN GENERALŠTAB VOJSKE JUGOSLAVIJE U SVETU - ARHITEKTONSKO REMEK-DELO ARH. NIKOLE DOBROVIĆA I JOŠ U SRBIJI ******* ... Građani BEOGRADA i SRBIJE, pa i EVROPE i celog SVETA imaju obavezu i trebaju/moraju da dignu SNAŽAN GLAS koji bi se čuo u celom sveru u znak protesta do NEBA i da ENERGIČNO I PO SVAKU CENU spreče novi vandalizam, sada u miru, rušenje ovog arhitektonskog remek dela od strane države SRBIJE ******** ... Ovo arhitektonsko remek-delo mora se ostaviti u nasleđe budućim generacijama, rođenim i još nerođenim, kao delo velike MATERIJALNE i NEMATERIJALNE VREDNOSTI Beograda i Srbije ****** ... Kad su Nemci mogli da OBNOVE DO ZADNJE CIGLE GRAD DREZDEN koji su američke vazdušne znsnage 1945. godine u znak odmazde razorili i sravnili sa zemljom, tim pre imamo obavezu MI, građani Srbije, da sprečimo vlast da izvrši novi vandalizam, URBICID, rušenje ovog prelepog i van svake sumnje vrednog beogradskog arhitektonskog spomenika ****** ... Arh. BOJAN KOVAČEVIĆ, uradio je jednu izvanrednu monografiju koja kao ŽIVI SVEDOK svedoči i svedočiće kako je GRAĐENO I SAGARĐENO ovo remek delo srpske arhitekture !!! ... Moje iskrene čestitke arh. BOJANU KOVAČEVIĆU za temeljni i izvanredni rad o Zgradi Generalštaba Vojske Jugoslacije, koja još odoleva mračnim planovima za nestanak ove monumentalne građevine ****** (Mihajlo Grušić) ................................................................. СЛИКЕ ЋИРИЛИЦА ШИВЕН ПОВЕЗ ТВРДЕ КОРИЦЕ 224 СТРАНИЦЕ НЕКОРИШЋЕНО ПЕРФЕКТ ********

SRPSKA ISTORIJA OD I SRPSKOG USTANKA DO KRALJEVINE SRBIJE 1-5 Sloboda Beograd, 1971. odnosno 1973. godine, enciklopedijski format 25 x 18 cm, tvrd platneni povez, zlatotisak, suvi žig, ilustrovano litografskim slikama, pojedine knjige sadrže karte, naglašeno je u pojedinačnim opisima. Reprint izdanja iz 1883. - 1884. godine. Knjige su odlično očuvane, čiste i uredne. Moguće da neke od njih nisu čitane. Kvalitetno, LUX izdanje i oprema. KAPITALNO * ODLIČNO OČUVANO Komplet sadrži sledeće naslove: 1. ŽIVOT I DELA KARAĐORĐA I NJEGOVIH VOJVODA I JUNAKA I Konstantin N. Nenadović - sabrao, napisao i izdao 1883. u Beču u Štampariji Jovana N. Vernaja 2. ŽIVOT I DELA KARAĐORĐA I NJEGOVIH VOJVODA I JUNAKA II Konstantin N. Nenadović - sabrao, napisao i izdao 1884. u Beču u Štampariji Jovana N. Vernaja 3. KNEŽEVINA SRBIJA I M. Đ. Milićević, u Beogradu, 1876. godine 4. KNEŽEVINA SRBIJA II M. Đ. Milićević, u Beogradu, 1876. godine, knjiga sadrži karte Kneževine Srbije 5. KRALJEVINA SRBIJA M. Đ. Milićević, u Beogradu, 1884. godine, knjiga sadrži kartu Kraljevine Srbije # 05

59448) Apologija hrišćanstva Fr. Getinger Gettinger Fr. Apologija hrišćanstvа. 2 dela u tri knjige ukoričene u jednu. Sankt Petersburg 1872-1875. godine. Knjiga 1. Deo 1. Prevod s nemačkog sveštenika Grigorija Čelcova. 1873 godina [4] + 315 strana. Knjiga 1. Deo 2. Prevod sa nemačkog prof. Kazanske duhovne Akademije Ivanovskog. U prilogu je knjižica „Drevnost čoveka“, delo Frederika Ružmona. 1875 godina : [4] + 316 + 37 strana Knjiga 2. Prevod sa nemačkog Protojerej Jovan Tolmačov. 1872 godina [4], + 371 strana. Iz sadržaja prve knjige : Uzroci verske sumnje ; Carstvo istine ; O postojanju Boga i njegovom biću ; Materijalizam ; Panteizam ; Čovek ; Bog i čovek ; Osnova i suština religije ; Vera i tajna ; Potreba za otkrovenjem ; Put razumne vere ; Čudo i proročanstvo ; Pouzdanost jevanđeljske istorije ; Božanstvenost jevanđeljske istorije ; Proročanstva i njihovo ispunjenje ; Reči i dela Isusa Hrista ; Lice Isusa Hrista. Iz sadržaja druge knjige : O Trojičnom Bogu ; O stvaranju i anđeoskom svetu ; O šest dana stvaranja ; O poreklu ljudskog roda od jednog para ; O prvobitnom stanju čoveka i o raju ; O grehopadu i nasledstvu prvorodnog greha ; O ovaploćenju Sina Božijeg ; Frederik de Ružmon Stariji (1808 - 1876 , ) švajcarski geograf , istoričar , filozof , teolog i političar . Objavio je veliki broj radova o geografiji, etnologiji i teologiji. Franc Getinger (1819-1890) - poznati rimokatolički teolog, profesor Univerziteta u Vircburgu. `Apologija hrišćanstva` - je njegovo najpoznatije delo . Prvi put je objavljeno 1862-1867 godine i ubrzo prevedeno na većinu evropskih jezika, uključujući ruski. Knjiga je imala za cilj da pomiri religiju sa racionalnim krugovima intelektualaca svoje epohe i odbrani hrišćanstvo od napada negativne kritike. Razvoj filozofije i nauke u modernim vremenima izazvao je velike sumnje u istinitost hrišćanstva i njegovih vrednosti. Ali sumnja je destruktivno stanje duše, uz nju je nemoguće bilo šta proizvesti, ona „uvek ostavlja za sobom strašnu prazninu i prati je duševno i moralno osiromašenje i smrt“. Autor nastoji da razjasni prirodu verskih nedoumica i da ih prevaziđe uz pomoć argumenata razuma. Cilj je dokazivanje istinitosti hrišćanskog učenja i jačanje vere čoveka u Boga. RETKOST ! tvrd povez, naknadno ukoričeno, format 16,5 x 22,5 cm , ruski jezik , potpis na predlistu

Sve knjige vrlo dobro ili odlično očuvane. Izdanje Matica Srpska Novi Sad i Srpska književna zadruga Beograd 1972. Urednik Živan Milisavac. Tvrdi povez, format 21 cm, ćirilica. Najbolja dela srpske književnosti. 1.Stara srpska književnost I 2.Stara srpska književnost II 3.Stara srpska književnost III 4.Antologija narodnih lirskih pesama 5.Antologija narodnih epskih pesama I 6.Antologija narodnih epskih pesama II 7.Antologija narodnih pripovedaka 8.Antologija stare srpske poezije 9.Narodne umotvorine 10.Dositej Obradović, Izabrani spisi 11.Simeon Piščević, Memoari 12.Prvi i Drugi srpski ustanak. Život i običaji naroda srpskog, Vuk Stefanović Karadžić I 13.Kritike i polemike, Vuk Stefanović Karadžić II 14.Pisma, Vuk Stefanović Karadžić III 15.Memoari, Prota Mateja Nenadović 16.Komedije, Jovan Sterija Popović I 17.Pesme.Proza, Jovan Sterija Popović II 18.Pjesme.Luča mikrokozma.Gorski vijenac, Petar II Petrović Njegoš 19.Lažni car Šćepan Mali.Pisma, Petar II Petrović Njegoš 20.Rukovet, Branko Radičević 21.Odabrana dela, Ljubomir P.Nenadović 22.Pripovetke, Stjepan Mitrov Ljubiša 23.Jesen ratnika, Marko Miljanov 24.Pesme, Jovan Jovanović Zmaj 25.Pesme.Jelisaveta.Proza, Đura Jakšić 26.Odabrana dela, Laza Kostić I 27.Odabrana dela, Laza Kostić II 28.Odabrana dela, Jakov Ignjatović I 29.Odabrana dela, Jakov Ignjatović II 30.Odabrani spisi, Svetozar Marković 31.Odabrana dela, Milovan Glišić 32.Dela, Laza K.Lazarević 33.Hajduk Stanko, Janko M.Veselinović 34.Gorski car.Pripovetke, Svetolik Ranković 35.Pomenik, Milan Đ.Milićević 36.Bilješke jednog pisca.Bakonja fra Brne, Simo Matavulj I 37.Pripovetke.O književnosti, Simo Matavulj II 38.Pop Ćira i pop Spira.Pripovetke, Stevan Sremac I 39.Ivkova slava.Vukadin.Pripovetke, Stevan Sremac II 40.Izabrana dela, Vojislav Ilić 41.Studije iz srpske književnosti, Ljubomir Nedić 42.Čovek i istorija, Božidar Knežević 43.Satire, Radoje Domanović 44.Pauci.Pripovetke, Ivo Ćipiko 45.Izabrane stranice, Svetozar Ćorović 46.Jauci sa Zmijanja, Petar Kočić 47.Nečista krv.Koštana, Bora Stanković I 48.Pripovetke, Bora Stanković II 49.Došljaci, Milutin Uskoković 50.Stari dramski pisci 51.Pjesme, Aleksa Šantić 52.Pesme.O pesnicima, Jovan Dučić I 53.Eseji.Putopisi, Jovan Dučić II 54.Pesme, Milan Rakić 55.Pesme, Vladislav Petković Dis 56.Pesme, Sima Pandurović 57.Pesnici I 58.Pesnici II 59.Odabrane komedije, Branislav Nušić I 60.Odabrane komedije, Branislav Nušić II 61.Naučnici 62.Ogledi i članci iz književnosti, Bogdan Popović 63.Iz srpske istorije, Stojan Novaković 64.Pesnički prevodi 65.Iz književnosti, Pavle Popović 66.Pripovedači 67.Studije, Jovan Skerlić I 68.Kritike, Jovan Skerlić II 69.O književnosti i jeziku I 70.O književnosti i jeziku II 71.Pripovetke, Veljko Petrović I 72.Pesme.Eseji, Veljko Petrović II 73.Proza, Isidora Sekulić I 74.Ogledi i zapisi, Isidora Sekulić II 75.Ogledi, Pero Slijepčević 76.Pripovijetke, Isak Samokovlija 77.Pokošeno polje, Branimir Ćosić 78.Devetsto četrnaesta, Stevan Jakovljević 79.Pripovetke, Ivo Andrić I 80.Na Drini ćuprija, Ivo Andrić II 81.Lirika.Proza.Eseji, Miloš Crnjanski I 82.Serbia.Seobe.Lament nad Beogradom, Miloš Crnjanski II 83.Otkrovenje. Poezija.Proza.Eseji, Rastko Petrović I 84.Pesme.Pripovetke.Drame, Momčilo Nastasijević 85.Pesme, Desanka Maksimović 86.Kritike, Milan Bogdanović 87.Izabrane stranice, Jovan Popović i Đorđe Jovanović 88.Čuvari sveta, Stanislav Vinaver 89.Poezija.Eseji, Skender Kulenović 90.Pripovetke, Branko Ćopić 91.Lelejska gora, Mihajlo Lalić 92.Noć duža od snova (Izbor tekstova), Milan Dedinac 93.Koreni, Dobrica Ćosić 94.Bitka oko zida (Izbor tekstova), Dušan Matić 95.Derviš i smrt, Meša Selimović 96.Cveće i bodlje.Izabrane pripovetke, Erih Koš 97.Velika deca.Pripovetke, Antonije Isaković 98.Pesme, Vasko Popa 99.Pesme, Stevan Raičković 100.Dokolice, Dušan Radović

Izabrana dela Mihaila I. Pupina 1-7  Pupin komplet  Autor: Mihajlo Pupin  Izdavac: Zavod za udžbenike Beograd  Godina izdanja: 1996.   Povez: tvrdi povez  Jezik: srpski i englski  Pismo: ćirilica i latinica  Format: 25 cm.   stanje: veoma dobroOPIS:   1. Sa pašnjaka do naučenjaka 2. Monografije 3. Patenti I 4. Patenti II 5. Predavanja 6. Članci 7. Nacionalno-politički rad : 1908-1935 Informacije ** BESPLATNA ISPORUKA NA TERITORIJI CELE SRBIJE UZ PREDHODNU UPLATU NA TEKUĆI RAČUN ! !! (ne važi za postexpress /dexpress, slanje pošiljaka pouzećem , kao ni za slanje pošiljaka van teritorije Srbije) za sve knjige kupljene sa našeg naloga:

ОСВАЛД ШПЕНГЛЕР ПРОПАСТ ЗАПАДА 1-2 Нацрт за морфологију историје света ГЕЦА КОН Б е о г р а д 1 9 3 6 КАРИЈАТИДЕ Филозофска библиотека ... Чувено/легендарно/ дело немачког филозофа и математичара, Освалда Шпенглера, први пут објављено у Минхену 1917. Oд његовог објављивања прошло је 1OO година, постало је /к у л т н о/ дело које се чита и проучава широм света. Његовом аутору обезбедило је бесмртну славу у пантеону људске цивилизације. Шпенглер схвата историју човечанства као живот самосталних, одељених, великих организама који се називају `к у л т у р е`. Историја човечанства је /б и о г р а ф и ј а/ тих култура. Шпенглер је животописац тих /о р г а н с к и х/ јединстава које он налази у прошлости и у садашњости. Та моћна животна, органска, виша бића - `културе`, живеле су и живе сада, пред нама, на органски начин. То значи, рађале су се, живеле и завршавале се смрћу као и свако органско биће. Стручно речено, културе се сврставају у биолошке категорије и стоје под органско-виталистичким аспектом. У том смислу свака је култура `пра-појава`, `пра-феномен`, нешто што се сагледава као основни облик, основна идеја, `пралик` постојања... (Михајло Грушић) .......................................................... Ово је ПРВО /с р п с к о/ издање ове драгоцене књиге !!! Предговор ВЛАДИМИР ВУЈИЋ КЊИГЕ 1-2 ТВРДЕ КОРИЦЕ ШИВЕН ПОВЕЗ 55О + 646 (око 1200) СТРАНИЦА СЛИКА АУТОРА КЊИГА ЧВРСТЕ СТРУКТУРЕ КОРИЦЕ У ОДЛИЧНОМ СТАЊУ СТРАНИЦЕ У ОДЛИЧНОМ СТАЊУ ГОТОВО НЕОТВОРЕНО ГАРАНЦИЈА ПЕРЕФКТ Екстра за ПОРОДИЧНУ БИБЛИОТЕКУ или за ПОКЛОН Књиге, у овакво перфектном стању, су понос сваке библиотеке !!! ПРВО издање ове књиге купује се једном у животу и чува се да се једном пренесе у друге руке, КАО ПОРОДИЧНО СРЕБРО, а тоће једног дана бити и у Србији! Тако То иде, ко зна и ко воли !!! Већ сада су /о в е/ књиге БИБЛИОФИЛСКИ раритет и вредност по себи !!!

*** Pokušao sam da slikama dočaram stanje stripova. Ukoliko vam nešto nije jasno slobodno pitajte! *** ZENIT revija: Po formatu i izgledu razlikuju se prvih 26 brojeva, koji su osetljiviji, od ostatka. Tako se ova revija može podeliti na dva dela: 1. 1-26; nedostaju brojevi 7 i 11. *** Broj 1 je najlošije očuvan, korice loše unutrašnjost u redu što se dobro vidi na slikama. Ocena je 3.*** *** Zatim brojevi 12 i 26 lošiji, ostatak je odlično očuvan. *** 2. 26-143; Redom su nadalje upisani lošije očuvani brojevi: 69,71,79,101,102,118,134,139 i 143 *** UKUPNO 12 lošije očuvanih, uglavnom 4-, 4, 4+ *** ***** Nedostaju brojevi: 7 i 11! ***** ***** NAJVEĆI DEO, SVE ŠTO NIJE NAVEDENO KAO LOŠIJE, ODLIČNO OČUVANO - 129 BROJEVA! *****

Dela A.N. Majkova 1884! RUS tom drugi tvrd kozni povez sjajno ocuvano posebno posle 135 godina! posveta ruski pisac skupljao prevodio i srpske epske pesme vidi slike! jako retko i vredno S. Peterburg 494 strane francuski povez Lib 20 Majkov Apolon Nikolajevič (Apollon Nikolaevič), ruski pesnik (Moskva, 4. VI. 1821 – Sankt Peterburg, 20. III. 1897). Studirao pravo; radio kao knjižar, od 1852. cenzor. Pristalica »naturalne škole« (poema Mašenka, 1846), poslije historicist (Kraj groba Groznoga – U groba Groznogo, 1887) i religijsko-filozofski lirik (mistifikacija Iz Apollodora Gnostika, 1877–93). U pjesništvu prevladavaju antički i talijanski motivi, krajolici. Objavio ciklus Iz slavenskog svijeta (Iz slavjanskogo mira, 1870–80). Apollon Nikolayevich Maykov (Russian: Аполло́н Никола́евич Ма́йков, June 4 [O.S. May 23] 1821, Moscow – March 20 [O.S. March 8] 1897, Saint Petersburg) was a Russian poet, best known for his lyric verse showcasing images of Russian villages, nature, and history. His love for ancient Greece and Rome, which he studied for much of his life, is also reflected in his works. Maykov spent four years translating the epic The Tale of Igor`s Campaign (1870) into modern Russian. He translated the folklore of Belarus, Greece, Serbia and Spain, as well as works by Heine, Adam Mickiewicz and Goethe, among others. Several of Maykov`s poems were set to music by Russian composers, among them Rimsky-Korsakov and Tchaikovsky. Maykov was born into an artistic family and educated at home, by the writer Ivan Goncharov, among others. At the age of 15, he began writing his first poetry. After finishing his gymnasium course in just three years, he enrolled in Saint Petersburg University in 1837. He began publishing his poems in 1840, and came out with his first collection in 1842. The collection was reviewed favorably by the influential critic Vissarion Belinsky. After this, he traveled throughout Europe, returning to Saint Petersburg in 1844, where he continued to publish poetry and branched out into literary criticism and essay writing. He continued writing throughout his life, wavering several times between the conservative and liberal camps, but maintaining a steady output of quality poetical works. In his liberal days he was close to Belinsky, Nikolay Nekrasov, and Ivan Turgenev, while in his conservative periods he was close to Fyodor Dostoyevsky. He ended his life as a conservative. Maykov died in Saint Petersburg On March 8, 1897. Contents 1 Biography 1.1 Literary career 1.1.1 Maykov and revolutionary democrats 1.1.2 The Tale of Igor`s Campaign 1.1.3 Christianity and paganism 1.1.4 Last years 2 Legacy 3 Selected bibliography 3.1 Poetry collections 3.2 Dramas 3.3 Major poems 4 Notes 5 References 6 External links Biography Apollon Maykov was born into an artistic family. His father, Nikolay Maykov, was a painter, and in his later years an academic of the Imperial Academy of Arts. His mother, Yevgeniya Petrovna Maykova (née Gusyatnikova, 1803–1880), loved literature and later in life had some of her own poetry published.[1] The boy`s childhood was spent at the family estate just outside Moscow, in a house often visited by writers and artists.[2] Maykov`s early memories and impressions formed the foundation for his much lauded landscape lyricism, marked by what biographer Igor Yampolsky calls `a touchingly naive love for the old patriarchal ways.`[3] In 1834 the family moved to Saint Petersburg. Apollon and his brother Valerian were educated at home, under the guidance of their father`s friend Vladimir Solonitsyn, a writer, philologist and translator, known also for Nikolay Maykov`s 1839 portrait of him. Ivan Goncharov, then an unknown young author, taught Russian literature to the Maykov brothers. As he later remembered, the house `was full of life, and had many visitors, providing a never ceasing flow of information from all kinds of intellectual spheres, including science and the arts.`[4] At the age of 15 Apollon started to write poetry.[5] With a group of friends (Vladimir Benediktov, Ivan Goncharov and Pavel Svinyin among others) the Maykov brothers edited two hand-written magazines, Podsnezhnik (Snow-drop) and Moonlit Nights, where Apollon`s early poetry appeared for the first time.[1] Maykov finished his whole gymnasium course in just three years,[3] and in 1837 enrolled in Saint Petersburg University`s law faculty. As a student he learned Latin which enabled him to read Ancient Roman authors in the original texts. He later learned Ancient Greek, but until then had to content himself with French translations of the Greek classics. It was at the university that Maykov developed his passionate love of Ancient Greece and Rome.[3] Literary career Apollon Maykov`s first poems (signed `M.`) were published in 1840 by the Odessa Almanac and in 1841 by Biblioteka Dlya Chteniya and Otechestvennye Zapiski. He also studied painting, but soon chose to devote himself entirely to poetry. Instrumental in this decision was Pyotr Pletnyov, a University professor who, acting as a mentor for the young man, showed the first poems of his protégé to such literary giants as Vasily Zhukovsky and Nikolai Gogol. Maykov never became a painter, but the lessons he received greatly influenced his artistic worldview and writing style.[1] In 1842 his first collection Poems by A.N. Maykov was published, to much acclaim. `For me it sounds like Delvig`s ideas expressed by Pushkin,` Pletnyov wrote.[6] Vissarion Belinsky responded with a comprehensive essay,[7] praising the book`s first section called `Poems Written for an Anthology`, a cycle of verses stylized after both ancient Greek epigrams and the traditional elegy. He was flattered by the famous critic`s close attention.[note 1] Maykov paid heed to his advice and years later, working on the re-issues, edited much of the text in direct accordance with Belinsky`s views.[8] After graduating from the university, Maykov joined the Russian Ministry of Finance as a clerk. Having received a stipend for his first book from Tsar Nicholas I, he used the money to travel abroad, visiting Italy (where he spent most of his time writing poetry and painting), France, Saxony, and Austria. In Paris Apollon and Valerian attended lectures on literature and fine arts at the Sorbonne and the College de France.[5] On his way back Maykov visited Dresden and Prague where he met Vaclav Hanka and Pavel Jozef Safarik, the two leaders of the national revival movement.[3] The direct outcome of this voyage for Apollon Maykov was a University dissertation on the history of law in Eastern Europe.[5] Maykov circa 1850 In 1844 Maykov returned to Saint Petersburg to join the Rumyantsev Museum library as an assistant. He became actively involved with the literary life of the Russian capital, contributing to Otechestvennye Zapiski, Finsky Vestnik and Sovremennik. He also debuted as a critic and published several essays on literature and fine art, reviewing works by artists like Ivan Aivazovsky, Fyodor Tolstoy and Pavel Fedotov.[1] In 1846 the Petersburg Anthology published his poem `Mashenka`, which saw Maykov discarding elegy and leaning towards a more down-to-Earth style of writing. Again Belinsky was impressed, hailing the arrival of `a new talent, quite capable of presenting real life in its true light.`[9] The critic also liked Two Fates (Saint Petersburg, 1845). A `natural school` piece, touched by Mikhail Lermontov`s influence, it featured `a Pechorin-type character, an intelligent, thinking nobleman retrogressing into a low-brow philistine,` according to Alexander Hertzen`s review.[10] In the late 1840s Maykov was also writing prose, in a Gogol-influenced style known as the `physiological sketch`. Among the short stories he published at the time were `Uncle`s Will` (1847) and `The Old Woman – Fragments from the Notes of a Virtuous Man` (1848).[1] In the late 1840s Maykov entered Belinsky`s circle and became friends with Nikolai Nekrasov and Ivan Turgenev. Along with his brother Valerian he started to attend Mikhail Petrashevsky`s `Secret Fridays`, establishing contacts with Fyodor Dostoyevsky and Aleksey Pleshcheyev. Later, having been interrogated about his involvement, Maykov avoided arrest (he did not have a significant role in the group`s activities), but for several years was kept under secret police surveillance.[1] In the years to come Maykov, who never believed in the ideas of socialism, often expressed embarrassment over his involvement in the Petrashevsky affair. In an 1854 letter to M. A. Yazykov he confessed: `At the time I had very vague political ideas and was foolish enough to join a group where all the government`s actions were criticized and condemned as wrong a priory, many of [its members] applauding every mistake, according to the logic of `the worse they rule, the quicker they`ll fall`.[11] In the 1850s Maykov, now a Slavophile, began to champion `firm` monarchy and strong Orthodox values.[2] Writing to Aleksandr Nikitenko he argued: `Only a form of political system which had been proven by the test of history could be called viable`.[12] In 1852 Maykov moved into the office of the Russian Committee of Foreign censorship, where he continued working for the rest of his life, becoming its chairman in 1882.[1] In 1847 Maykov`s second collection of poems, Sketches of Rome, the artistic outcome of his earlier European trip, was published. Informed with Belinsky`s criticism, some poems were built on the juxtaposition of the majestic ruins and lush landscapes of `classic` Rome with the everyday squalor of contemporary Italy. This homage to the `natural school` movement, though, did not make Maykov`s style less flamboyant; on the contrary, it was in Sketches of Rome that he started to make full use of exotic epithets and colorful imagery.[1] In 1848–1852 Maykov wrote little, but became active during the Crimean War. First came the poem `Claremont Cathedral` (1853), an ode to Russia`s historical feat of preventing the Mongol hordes from devastating European civilization.[note 2] This was followed by the compilation Poems, 1854. Some of the poems, like those about the siege of Sevastopol (`To General-Lieutenant Khrulyov`) were welcomed by the literary left (notably Nekrasov and Chernyshevsky). Others (`In Memory of Derzhavin` and `A Message to the Camp`) were seen as glorifying the monarchy and were deemed `reactionary`.[13] The last 1854 poem, `The Harlequin`, was a caricature on a revolutionary keen to bring chaos and undermine centuries-old moral principles.[13] Now a `patriarchal monarchist`, Maykov started to praise the Nikolai I regime. Another poem, `The Carriage`, where Maykov openly supported the Tsar, was not included in 1854, but circulated in its hand-written version and did his reputation a lot of harm. Enemies either ridiculed the poet or accused him of political opportunism and base flattery. Some of his friends were positively horrified. In his epigrams, poet Nikolay Shcherbina labeled Maykov `chameleon` and `servile slave`.[1] While social democrats (who dominated the Russian literary scene of the time) saw political and social reforms as necessary for Russia, Maykov called for the strengthening of state power.[13] After Russia`s defeat in the war the tone of Maykov`s poetry changed. Poems like `The war is over. Vile peace is signed...`, `Whirlwind` (both 1856), `He and Her` (1867) criticized corrupt high society and weak, inadequate officials who were indifferent to the woes of the country and its people.[13] Now openly critical of Nikolai I, Maykov admitted to having been wrong when professing a belief in the monarch.[14] Maykov in the 1850s In 1858 Maykov took part in the expedition to Greece on board the corvette Bayan. Prior to that he read numerous books about the country and learned the modern Greek language. Two books came out as a result of this trip: The Naples Album (which included `Tarantella`, one of his best known poems) and Songs of Modern Greece. The former, focusing on contemporary Italian life, was coldly received by Russian critics who found it too eclectic. In retrospect it is regarded as a curious experiment in breaking genre barriers, with images and conversations from foreign life used to express things which in Russia could not be commented on publicly at the time.[13] In the latter, the author`s sympathy for the Greek liberation movement is evident.[3] The early 1860s saw Maykov`s popularity on the rise: he often performed in public and had his works published by the leading Russian magazines.[15] In the mid-1860s he once again drifted towards the conservative camp, and stayed there for the rest of his life. He condemned young radicals, and expressed solidarity with Mikhail Katkov`s nationalistic remarks regarding the Polish Uprising and Russian national policy in general. In poems like `Fields` (which employed Gogol`s metaphor of Russia as a troika, but also expressed horror at emerging capitalism),[13] `Niva` and `The Sketch` he praised the 1861 reforms, provoking sharp criticism from Saltykov-Schedrin[16] and Nikolay Dobrolyubov.[2] Adopting the Pochvennichestvo doctrine, Maykov became close to Apollon Grigoriev, Nikolai Strakhov, and Fyodor Dostoyevsky; his friendship with the latter proved to be a particularly firm and lasting one.[1] In the 1860s and 1870s Maykov contributed mainly to Russky Vestnik.[3] One of the leading proponents of Russian Panslavism, he saw his country as fulfilling its mission in uniting Slavs, but first and foremost freeing the peoples of the Balkans from Turkish occupation. `Once you`ve seen Russia in this [Panslavic] perspective, you start to understand its true nature and feel ready to devote yourself to this life-affirming cause,` wrote Maykov in a letter to Dostoyevsky.[17] The mission of art, according to the poet, was to develop the national self-consciousness and revive the `historical memory` of Russians. The Slavic historic and moral basis on which it stood became the major theme of Maykov`s poetry cycles `Of the Slavic World`, `At Home`, and `Callings of History`. Well aware of the darker side of Russia`s historic legacy, he still thought it necessary to highlight its `shining moments` (`It`s dear to me, before the icon...`, 1868). Maykov was not a religious person himself but attributed great importance to the religious fervor of the common people, seeing it as the basis for `moral wholesomeness` (`The spring, like an artist`, 1859; `Ignored by all...`, 1872). His religious poems of the late 1880s (`Let go, let go...`, `The sunset’s quiet shine...`, `Eternal night is near...`) differed radically from his earlier odes to paganism. In them Maykov professed a belief in spiritual humility and expressed the conviction that this particular feature of the Russian national character would be its saving grace.[13] Maykov and revolutionary democrats Unlike his artistic ally Afanasy Fet, Maykov always felt the need for maintaining `spiritual bonds` with common people and, according to biographer Yampolsky, followed `the folk tradition set by Pushkin, Lermontov, Krylov and Koltsov`.[3] Yet he was skeptical of the doctrine of narodnost as formulated by Dobrolyubov and Chernyshevsky, who saw active promotion of the democratic movement as the mission of Russian literature. In 1853, horrified by Nekrasov`s poem `The Muse`, Maykov wrote `An Epistle to Nekrasov`, in which he urged the latter to `dilute his malice in nature`s harmony.` Yet he never severed ties with his opponent and often gave him credit. `There is only one poetic soul here, and that is Nekrasov,` Maykov wrote in an October 1854 letter to Ivan Nikitin.[18] According to Yampolsky, Nekrasov`s poem `Grandfather` (1870, telling the story of a nobleman supporting the revolutionary cause) might have been an indirect answer to Maykov`s poem `Grandmother` (1861) which praised the high moral standards of the nobility and condemned the generation of nihilists. Maykov`s poem Princess (1876) had its heroine Zhenya, a girl from an aristocratic family, join a gang of conspirators and lose all notions of normality, religious, social or moral. However, unlike Vsevolod Krestovsky or Viktor Klyushnikov, Maykov treated his `nihilist` characters rather like victims of the post-Crimean war social depression rather than villains in their own right.[3] The Tale of Igor`s Campaign Seeking inspiration and moral virtue in Russian folklore, which he called `the treasury of the Russian soul`, Maykov tried to revive the archaic Russian language tradition.[19] In his later years he made numerous freestyle translations and stylized renditions of Belarussian and Serbian folk songs. He developed a strong interest in non-Slavic folklore too, exemplified by the epic poems Baldur (1870) and Bringilda (1888) based on the Scandinavian epos.[3] In the late 1860s Maykov became intrigued by The Tale of Igor`s Campaign, which his son was studying in gymnasium at the time. Baffled by the vagueness and occasional incongruity of all the available translations, he shared his doubts with professor Izmail Sreznevsky, who replied: `It is for you to sort these things out.` Maykov later described the four years of work on the new translation that followed as his `second university`.[3] His major objective was to come up with undeniable proof of the authenticity of the old text, something that many authors, Ivan Goncharov among them, expressed doubts about. Ignoring Dostoyevsky`s advice to use rhymes so as to make the text sound more modern, Maykov provided the first ever scientifically substantiated translation of the document, supplied with comprehensive commentaries. First published in the January 1870 issue of Zarya magazine, it is still regarded as one of the finest achievements of his career.[13] For Maykov, who took his historical poems and plays seriously, authenticity was the main objective. In his Old Believers drama The Wanderer (1867), he used the hand-written literature of raskolniks and, `having discovered those poetic gems, tried to re-mold them into... modern poetic forms,` as he explained in the preface.[20][13] In his historical works Maykov often had contemporary Russian issues in mind. `While writing of ancient history I was looking for parallels to the things that I had to live through. Our times provide so many examples of the rise and fall of the human spirit that an attentive eye looking for analogies can spot a lot,` he wrote.[21] Christianity and paganism Maykov in his later years Maykov`s first foray into the history of early Christianity, `Olynthus and Esther` (1841) was criticized by Belinsky. He returned to this theme ten years later in the lyrical drama Three Deaths (1857), was dissatisfied with the result, and went on to produce part two, `The Death of Lucius` (1863). Three Deaths became the starting point of his next big poem, Two Worlds, written in 1872, then re-worked and finished in 1881. Following Belinsky`s early advice, Maykov abandoned Lucius, a weak Epicurean, and made the new hero Decius, a patrician who, while hating Nero, still hopes for the state to rise up from its ashes.[13] Like Sketches of Rome decades earlier, Two Worlds was a eulogy to Rome`s eternal glory, its hero fighting Christianity, driven by the belief that Rome is another Heaven, `its dome embracing Earth.`[5] While in his earlier years Maykov was greatly intrigued by antiquity, later in life he became more interested in Christianity and its dramatic stand against oppressors. While some contemporaries praised Maykov for his objectivity and scholarly attitude, the Orthodox Christian critics considered him to be `too much of a heathen` who failed to show Christianity in its true historical perspective.[22] Later literary historians viewed Maykov`s historical dramas favourably, crediting the author for neutrality and insight. Maykov`s antiquity `lives and breathes, it is anything but dull,` wrote critic F. Zelinsky in 1908.[23] For the Two Worlds Maykov received The Russian Academy of Sciences` Pushkin Prize in 1882.[1] Last years In 1858 Grigory Kushelev-Bezborodko published the first Maykov anthology Poems by Ap. Maykov. In 1879 it was expanded and re-issued by Vladimir Meshchersky. The Complete Maykov came out in 1884 (its second edition following in 1893).[5] In the 1880s Maykov`s poetry was dominated by religious and nationalistic themes and ideas. According to I. Yampolsky, only a few of his later poems (`Emshan`, `The Spring`, 1881) had `indisputable artistic quality`.[3] In his later years the poet wrote almost nothing new, engaging mostly in editing his earlier work and preparing them for compilations and anthologies. `Maykov lived the quiet, radiant life of an artist, evidently not belonging to our times... his path was smooth and full of light. No strife, no passions, no persecution,` wrote Dmitry Merezhkovsky in 1908.[24] Although this generalization was far from the truth, according to biographer F. Priyma, it certainly expressed the general public`s perception of him.[13] Apollon Maykov died in Saint Petersburg On March 8, 1897. `His legacy will always sound as the mighty, harmonious and very complicated final chord to the Pushkin period of Russian poetry,` wrote Arseny Golenishchev-Kutuzov in the Ministry of Education`s obituary.[25] Legacy Maykov`s initial rise to fame, according to the Soviet scholar Fyodor Pryima, had a lot to do with Pushkin and Lermontov`s untimely deaths, and the feeling of desolation shared by many Russian intellectuals of the time.[13] Vissarion Belinsky, who discovered this new talent, believed it was up to Maykov to fill this vacuum. `The emergence of this new talent is especially important in our times, when in the devastated Church of Art... we see but grimacing jesters entertaining dumb obscurants, egotistic mediocrities, merchants and speculators,` Belinsky wrote, reviewing Maykov`s debut collection.[26] The sleeve of Poems by Apollon Maykov in 2 volumes, 1858. Hailing the emergence of a new powerful talent, Belinsky unreservedly supported the young author`s `anthological` stylizations based upon the poetry of Ancient Greece, praising `the plasticity and gracefulness of the imagery,` the virtuosity in the art of the decorative, the `poetic, lively language` but also the simplicity and lack of pretentiousness.[27] `Even in Pushkin`s legacy this poem would have rated among his best anthological pieces,` Belinsky wrote about the poem called `The Dream`.[28] Still, he advised the author to leave the `anthological` realm behind as soon as possible[29] and expressed dissatisfaction with poems on Russia`s recent history. While admitting `Who`s He` (a piece on Peter the Great, which some years later found its way into textbooks) was `not bad`, Belinsky lambasted `Two Coffins`, a hymn to Russia`s victories over Karl XII and Napoleon. Maykov`s debut collection made him one of the leading Russian poets. In the 1840s `his lexical and rhythmic patterns became more diverse but the style remained the same, still relying upon the basics of classical elegy,` according to the biographer Mayorova, who noted a strange dichotomy between the flamboyant wording and static imagery, and pointed to the `insurmountable distance between the poet and the world he pictured.`[1] After Belinsky`s death, Maykov started to waver between the two camps of the Westernizers and the Slavophiles, and the critics, accordingly, started to treat his work on the basis of their own political views in relation to the poet`s changing ideological stance. Maykov`s 1840s` `natural school`- influenced poems were praised (and published)[30] by Nikolay Nekrasov. His later works, expressing conservative, monarchist and anti-`nihilist` views, were supported by Dostoyevsky, who on more than one occasion pronounced Maykov Russia`s major poet.[13][31] In his 1895 article for the Brockhaus and Efron Encyclopedic Dictionary, the philosopher and critic Vladimir Solovyov argued that Maykov`s dominant characteristics were `a serene, contemplating tone, elaborate patterns, a distinct and individual style (in form, although not in colors) with a relatively lackluster lyric side, the latter suffering obviously from too much attention to details, often at the expense of the original inspiration.` Maykov`s best works were, the critic opined, `powerful and expressive, even if not exceptionally sonorous.`[5] Speaking of Maykov`s subject matter, Solovyov was almost dismissive: Two major themes form the foundation of Maykov`s poetry, the Ancient Greek aesthetic and historical myths of the Byzantine-Russian politics; bonded only by the poet`s unreserved love for both, never merge... The concept of Byzantium, as the second Rome, though, has not crystallized as clear and distinct in the poet`s mind as that of the original Roman Empire. He loves Byzantine/Russia in its historical reality, refusing to admit its faults and contradictions, tending to glorify even such monsters as Ivan the Terrible, whose `greatness`, he believes, will be `recognised` in due time. [...] There was also a kind of background theme in his earlier work, the pastoral pictures of beautiful Russian nature, which the poet had all the better reason to enjoy for being a devout fisherman.[5] Autograph by Apollon Maikov of his poem `Pustinnik` (Hermit) The modernist critic Yuly Aykhenvald, analyzing the cliché formula that bonded `Maykov, Polonsky and Fet` into a solid group of similar-minded authors, alleged that Maykov `to a lesser extent than the other two freed himself from the habit of copying classics` and `in his earlier works was unoriginal, producing verse that shone with reflected light.` Not even his passionate love for classics could help the author submerge `wholly into the pagan element,` the critic opined.[32] He was a scholar of antiquity and his gift, self-admittedly `has been strengthened by being tempered in the fire of science.` As a purveyor of classicism, his very soul was not deep or naive enough to fully let this spirit in or embrace the antique idea of intellectual freedom. Poems, inhabited by naiads, nymphs, muses and dryads, are very pretty, and you can`t help being enchanted by these ancient fables. But he gives you no chance to forget for a moment that – what for his ancient heroes was life itself, for him is only a myth, a `clever lie` he could never believe himself.[32] All Maykov`s strong points, according to the critic, relate to the fact that he learned painting, and, in a way, extended the art into his poetry. Aykhenvald gives him unreserved credit for the `plasticity of language, the unequalled turn at working on a phrase as if it was a tangible material.` Occasionally `his lines are so interweaved, the verse looks like a poetic calligraphy; a scripturam continuam... Rarely passionate and showing only distant echoes of original inspiration, Maykov`s verse strikes you with divine shapeliness... Maykov`s best poems resemble statues, driven to perfection with great precision and so flawless as to make a reader feel slightly guilty for their own imperfection, making them inadequate to even behold what`s infinitely finer than themselves,` the critic argued.[32] Another Silver Age critic who noticed how painting and fishing might have influenced Maykov`s poetry was Innokenty Annensky. In his 1898 essay on Maykov he wrote: `A poet usually chooses their own, particular method of communicating with nature, and often it is sports. Poets of the future might be cyclists or aeronauts. Byron was a swimmer, Goethe a skater, Lermontov a horse rider, and many other of our poets (Turgenev, both Tolstoys, Nekrasov, Fet, Yazykov) were hunters. Maykov was a passionate fisherman and this occupation was in perfect harmony with his contemplative nature, with his love for a fair sunny day which has such a vivid expression in his poetry.`[33] Putting Maykov into the `masters of meditation` category alongside Ivan Krylov and Ivan Goncharov, Annensky continued: `He was one of those rare harmonic characters for whom seeking beauty and working upon its embodiments was something natural and easy, nature itself filling their souls with its beauty. Such people, rational and contemplative, have no need for stimulus, praise, strife, even fresh impressions... their artistic imagery growing as if from soil. Such contemplative poets produce ideas that are clear-cut and `coined`, their images are sculpture-like,` the critic argued.[33] Annensky praised Maykov`s gift for creating unusual combinations of colors, which was `totally absent in Pushkin`s verse, to some extent known to Lermontov, `a poet of mountains and clouds` ...and best represented by the French poets Baudelaire and Verlaine.` `What strikes one is Maykov`s poetry`s extraordinary vigor, the freshness and firmness of the author`s talent: Olympians and the heroes of Antiquity whom he befriended during his childhood years… must have shared with him their eternal youth,` Annensky wrote.[33] Maykov in 1868 D. S. Mirsky called Maykov `the most representative poet of the age,` but added: `Maykov was mildly `poetical` and mildly realistic; mildly tendentious, and never emotional. Images are always the principal thing in his poems. Some of them (always subject to the restriction that he had no style and no diction) are happy discoveries, like the short and very well known poems on spring and rain. But his more realistic poems are spoiled by sentimentality, and his more `poetic` poems hopelessly inadequate — their beauty is mere mid-Victorian tinsel. Few of his more ambitious attempts are successful.`[34] By the mid-1850s Maykov had acquired the reputation of a typical proponent of the `pure poetry` doctrine, although his position was special. Yet, according to Pryima, `Maykov was devoid of snobbishness and never saw himself occupying some loftier position even when mentioning `crowds`. His need in communicating with people is always obvious (`Summer Rain`, `Haymaking`, `Nights of Mowing`, The Naples Album). It`s just that he failed to realize his potential as a `people`s poet` to the full.` `Maykov couldn`t be seen as equal to giants like Pushkin, Lermontov, Koltsov, or Nekrasov,` but still `occupies a highly important place in the history of Russian poetry` which he greatly enriched, the critic insisted.[13] In the years of Maykov`s debut, according to Pryima, `Russian poetry was still in its infancy... so even as an enlightener, Maykov with his encyclopedic knowledge of history and the way of approaching every new theme as a field for scientific research played an unparalleled role in the Russian literature of the time.` `His spectacular forays into the `anthological` genre, as well as his translations of classics formed a kind of `antique Gulf Stream` which warmed up the whole of Russian literature, speeding its development,` another researcher, F. F. Zelinsky, agreed.[13] Maykov`s best poems (`To a Young Lady`, `Haymaking`, `Fishing`, `The Wanderer`), as well his as translations of the Slavic and Western poets and his poetic rendition of Slovo o Polku Igoreve, belong to the Russian poetry classics, according to Pryima.[13] Selected bibliography Poetry collections Poems by A.N.Maykov (1842) Sketches of Rome (Otcherki Rima, 1847) 1854. Poems (Stikhotvoreniya, 1854) The Naples Album (Neapolsky albom, 1858) Songs of Modern Greece (Pesni novoy Gretsii, 1860) Dramas Three Deaths (Tri smerti, 1857) Two Worlds (Dva mira, 1882) Major poems Two Fates (Dve sudby, 1845) Mashenka (1946) Dreams (Sny, 1858) The Wanderer (Strannik, 1867) Princess*** (Knyazhna, 1878) Bringilda (1888)

Svetski klasici 1-30 Prosveta Beograd 1) 3 Nostromo Džozef Konrad 2) 4 Ocevi i deca I.S.Turgenjev 3) 6 Bura/Vesele žene Vindzorske Vilijem Šekspir 4) 7 Nenagrađeni ljubavni trud ; Kralj Ričard drugi, Vilijem Šekspir 5) 8 ŠAMPAVER Petrus Borel 6) 9 Pripovetke, Henri Džejms 7) 10 BERENIKA MITRIDAT BRITANIK Žan Rasin 8) 11 PUTOVANJE PO ITALIJI Gete 9) 12 Izabrana dela/A.S. Puškin 10) 13 Tesa od D Urbervilovih Hardi 11) 14 Opasne veze, Šoderlo de Laklo 12) 15 ŠPANSKA LIRIKA dva zlatna veka 13) 16 ŠATOBRIJAN Rene Atala Sećanja s onu stranu groba Eseji 14) 17 Laoce/Konfucije/Čuangce - Izabrani spisi 15) 18 KLAJST izabrana dela 16) 19 KRONIKA O VLADAVINI KARLA IX Prosper Merime 17) 20 Rukopis nađen u Saragosi - Jan Potocki 18) 21 Slika Dorjana Greja Oskar Vajld 19) 22 Eneida / Publije Vergilije Maron 20) 23 Venecijanka i druge komedije Makijaveli Aretino Karo 21) 24 Renesansa, Volter Pejter 22) 25 Viljem Sekspir - Soneti 23) 26 NASUPROT Žoris Karl Uismans 24) 27 Antologija novije francuske lirike 25) 28 PAMFLETI PISMA Pol Luj Kurije 26) 29 Judejski rat – Josif Flavije 27) 30 Izabrana dela Ljermontov svetski klasici 28) 31 Antologija moderne američke poezije 29) 32 Kraljevski komentari o Inkama 30) 33 Antologija francuske poezije svetksi klasici Prosveta Beograd , biblioteka Svetski klasici , tvrd povez, format 13,5 x 19,5 cm , zaštitni omot, ćirilica. Stanje Veoma dobro.

Opis Slika Dejana Milivojevića – Imagination 2 je tipičan primer njegovog stvaralaštva sa motivom portreta žena. Poznat je po svojim futurističkim i nadrealnim slikama. Posebno su ističu njegove slike sa portretima ljudi u apstraktnom maniru. Ova slika rađena tehnikom je ulje na platnu. Dimenzije slike su 130 x 90 bez rama. Cena slike Dejana Milivojevića – Imagination 2 je bez ramom. Slika je bez rama a uslužno se može uramiti kod nas što garantuje i galerijski popust kod uramljivanja Dejan Milivojević je jedan od najistaknutijih predstavnika savremenog srpskog nadealizma i apstaktnog ekspresionizma. Slikarstvo Dejana Milivojevića nadilazi vidljivu stvarnost. Njegova mašta mu dozvoljava da nam svom putu slikarskog dokazivanja jednostavnost prebaci iz vidljivog u nevidljivo. Kao i iz realnog u nadrealno i iz postojećeg u fantastično. On je slikar nadrealne apstrakcije. Dejan Deki Milivojević je rođen 1967. u Jagodini.Slobodni umetnik, član ULUS-a i ULUPUDS-a. Godišnja izložba Članova ULUSa 2014 Majska izložba ULUPUDSa 2015 Otvoreni Oktobarski salon ULUSa 2016 XV international painting exibitions“ PANEVEZYS“ 2017 ARTSALON 2016- Toronto Canada Međunarodna izložba “ Lepota Zene “ Beograd-Budimpešta-Bratislava 2013 VII Bienale likovnih i primenjenih umetnosti Smederevo 2010 Međunarodna izložba BARTI Ruski dom Beograd 2012 i dr. Učestvovao na više od 80 likovnih kolonija u Srbiji, Crnoj Gori, Mađarskoj, Makedoniji Bugarskoj i Litvaniji. Slika Dejana Milivojevića – Imagination 2 dolazi sa sertifikatom o autentičnosti i originalnosti. To ga čini idealnim izborom za ljubitelje umetnosti koji traže originalna umetnička dela. Zato se spremite da budete opčinjeni ovim prelepim umetničkim delom. Dajte dašak sofisticiranosti svom prostoru uz sliku Dejana Milivojevića – Imagination 2

Bob Michaels ‎– Suggestions (The New Classical Musicologists) Progressive Rock Variety / 1970 / Made in Italy Veoma retka ploča. Dela klasične muzike u rock aranžmanima. Stanje ploče/omota: 4-/4+. Tracklist: A1 Il Mattino 2:50 A2 Sogno D‘Amore - Notturno No. 3 2:07 A3 Canto Di Primavera 4:25 A4 Serenata 3:21 A5 Danza Polivesiana - Dal Principe Igor B1 Toccata (dalla Toccata E Fuga In Re Minore) 3:42 B2 Preludio No. 7 3:30 B3 Scena Infantile No. 7 3:30 B4 Lago Dei Cigni - 1 Atto 3:32 B5 Melodi In Fa 3:47

Павле Соларић - Ново гражданско землеописаніе, перво На Езику Сербскомъ, у две части, Съ Землеписникомъ одъ XXXVII Листова. Часть 1-2, у Венеціи : у Пане Өеодосїева, 1804 godine Tvrd povez. Knjiga je u dobrom stanju. Ima manje oštećenje korica na donjem delu rikne. Listovi su blago zatalasani, kao i korice. Na predlistu i naslovnom listu ima potpise. Knjiga je kompletna i nigde nije cepana. Ćošak jednog lista je savijen ka unutra jer je usled štamparske greške duži od ostalih. Na koricama kao i na naslovnom listu drugog dela nalepljene nalepnice biblioteke Petra Stojadinovića generalnog direktora novosadske štamparije Zastava d. d. 474 + 246 strana Pavle Solarić - Novo graždansko zemljeopisanie u dve časti, Kod Pane Teodosijeva, Venecija 1804 godine

Tehnika: Kombinovana tehnika Dimenzije: 100x70cm Uz umetničko delo dobijate sertifikat. Takođe, odkupljujemo umetnine, slobodno se javite!

Tehnika: tempera Dimenzije: 60x43 cm Vreme: 1950 let Uz umetničko delo dobijate sertifikat

Tehnika: Ulje na platnu Dimenzije: 50x70cm Uz umetničko delo dobijate sertifikat. Takođe, odkupljujemo umetnine, slobodno se javite!

Vil Djurant ISTORIJA CIVILIZACIJE 1-12 NOVO + 2 KNJIGE Vojnoizdavački zavod i Narodna knjiga Beograd, 2004. godine, 12 tomova, lux izdanje, veći format, tvrd povez, zlatotisak. Ćirilica. Knjige su nove. Uz komplet idu dodatno DVE BONUS knjige koje se ne sadrže u kompletu. Vilijam Džejms Djurant (1885 - 1981), američki pisac, istoričar i filozof. Najpoznatiji je upravo po svom delu ISTORIJA CIVILIZACIJA u 12 tomova, The Story of Civilization koju je napisao zajedno sa svojom suprugom Arijel i objavljivao između 1935. i 1975. godine. Njegovo ranije delo Istorija filozofije (engl. The Story of Philosophy), koju je napisao 1926, je značajno pomoglo popularizovanju filozofije. Komplet sadrži sledeće naslove: 01. ISTOČNE CIVILIZACIJE 02. ŽIVOT GRČKE 03. CEZAR I HRIST 04. DOBA VERE I 05. DOBA VERE II 06. RENESANSA 07. REFORMACIJA 08. POČETAK DOBA RAZUMA 09. DOBA LUJA XIV 10. VOLTEROVO DOBA 11. RUSO I REVOLUCIJA 12. NAPOLEONOVO DOBA BONUS KNJIGE: 1. UM CARUJE - Životi i mišljenja velikih filozofa - PLATON - ARISTOTEL I GRČKA NAUKA - BEKON - SPINOZA - VOLTER I FRANCUSKA PROSVEĆENOST - IMANUEL KANT I NEMAČKI IDEALIZAM - ŠOPENHAUER - HERBERT SPENSER - FRIDRIH NIČE - SAVREMENI EVROPSKI FILOZOFI 2. OGNJIŠTE MUDROSTI Smotra ljudskog života i ljudske sudbine ISTORIJA CIVILIZACIJE 01 ISTOČNE CIVILIZACIJE Istorija civilizacije u Egiptu i na Bliskom istoku do Aleksandrove smrti, i u Indiji, Kini i Japanu od samih početaka do našnjih dana sa uvodom o prirodi i osnovama civilizacije i 86 ilustracija i mapa. Knjiga se može porediti sa velikim delima francuskih enciklopedista osamnaestog veka jer predstavlja najsveobuhvatniji pokušaj našeg doba da se obuhvati ogromna panorama ljudske istorije i kulture. Sumerska kultura, kao kolevka prvih gradova i pisanih zakona, Egipat koji je usavršio monumentalnu arhitekturu, medicinu i mumifikaciju pre 3500 godina, Vavilon u kome se razvila astronomija i fizika i odakle je poteklo seme zapadne mitologije, Judeja sa Bliskog istoka i njihov kralj Asurbanipal koji je na skulpturama prikazan kao pola čovek, pola čudovište, kao i Judejci koji su odoleli svim pokušajima da ih zatru i zauvek sačuvali svoju kulturu u besmrtnom Starom zavetu. 02 ŽIVOT GRČKE Istorija grčke civilizacije od početaka i istorija Bliskog istoka od smrti Aleksandra Velikog do rimskog osvajanja sa uvodom o preistorijskoj kulturi Krita. Tokom dinamične sinteze istorije sveta, autor se bavi večito fascinirajućim problemom grčke civilizacije. Tako je ŽIVOT GRČKE knjiga čiji stil podseća na zlatno doba pisanja o istoriji, pre nego što je usko stručno proučavanje istorije okupiralo tu oblast. Vil Djurant je u potpunosti sagledao životni put Grčke, na isti način kao što bi to činio jedan Atinjanin u petom veku, sa svojim umom željnim znanja, u stalnom traganju za suštinom divne panorame Periklove Atine. Ovo delo Za ovo delo koje je Vil Djurant pisao punih 50 godina, dobio je prestižnu Pulicerovu nagradu. 03 CEZAR I HRIST Autor je učinio da ova knjiga predstavlja monumentalni prikaz istorije sveta, pripremajući je dvadeset pet, a pišući je punih pet godina! Kao i svi tomovi ISTORIJE CIVILIZACIJE, tako se i ovaj tom može čitati nezavisno od drugih. Knjiga sadrži mnoštvo paralela sa savremenom istorijom. Autor iskreno veruje da čitanje događaja iz prošlosti treba da rasvetli sadašnjost i osvetli budućnost. Tako, u klasnim trvenjima i permanentnim borbama za vlast koje simbolišu rimsku istoriju od braće Grah do Cezara, on nalazi analogiju sa razvojem Evrope i Amerike od Francuske revolucije do danas. Djurant nas podseća da su diktatori uvek koristili iste metode, da se socijalna pomoć koristila više od jednog veka pre Hrista i da je prvi rimski sindikat ustanovljen oko 600 godina pre Hrista! Takođe, saznajemo za bankrotstva banaka, „svinjsku burad“ (dotacije iz federalne državne blagajne za javne radove u rejonu nekog kongresmena ili senatora), depresije, vladine projekte i propise, državni socijalizam, prioritetne planove u doba rata, izbornu korupciju, trgovačka udruženja i druge fenomene starog Rima koji bi lako mogli da se uklope u današnje naslove novinskih tekstova. 04 DOBA VERE I 05 DOBA VERE II Istorija srednjovekovne civilizacije - hrišcanske, islamske i judejske, od Konstantina do Dantea, od 325. do 1300. godine naše ere, označava se dobom vere. To doba, iz pera Vila Djuranta, sadrži prikaz srednjevekovnih dostignuća i govori o tome kakav značaj za naše doba imaju hrišćanski, islamski i judejski život i kultura Srednjeg veka. Knjiga sadrži uzbudljive priče o svetom Avgustinu, Hipatiji, Justinijanu, Muhamedu, Harunu al-Rašidu, Karlu Velikom, Vilijamu Osvajaču, Eleonori od Akvitanije, Ričardu Lavljeg Srca, Saladinu, Majmonidu, svetom Franji, svetom Tomi Akvinskom, Rodžeru Bejkonu i mnogim drugim istoriji poznatim ličnostima. Tu su, naravno, i najčuvenije ljubavne priče u istoriji književnosti o Eloizi i Abelaru, o Danteu i Beatriče, ispisane sa uzbudljivom erudicijom. Obe knjige DOBA VERE obuhvataju ekonomiju, politiku, pravo, vlast, religiju, moral, ponašanje, obrazovanje, književnost, nauku, filozofiju i umetnost hrišćana, muslimana i Jevreja, tokom jedne epohe koja je bila svedok sudbinskih borbi između tri velike religije, kao i borbe između religioznog i svetovnog pogleda na ljudski život. Jedna fascinantna priča spaja romantiku, siromaštvo, sjaj, pobožnost i poročnost, feudalizam i monaštvo, jeresi i inkvizicije, katedrale i univerzitete, trubadure i minezingere jednog živopisnog milenijuma. 06 RENESANSA Period od 1304-1576 godine, predstavalja istoriju italijanske civilizacije. Ovaj deo ISTORIJE CIVILIZACIJE sadrži portret jednog sveta na njegovom slavnom vrhuncu, portret fascinantnu i raskošnu Italiju u doba renesanse, od Petrarkinog rodenja do Ticijanove smrti. U ovom tomu, autor izlaže uvodnu studiju ekonomske podloge koja obuhvata razvoj industrije, rast bankarskih porodica, osvrćući se pre svega na čuvane Medičijeve. Na taj nacin on objašnjava razloge zbog kojih je Italija bila prva država, a Firenca prvi grad u Italiji koji ce doživeti budenje modernog doba, prateći procvat kulture od Firence do Milana, Mantove, Ferare, Verone, Venecije, Padove, Parme, Bolonje, Riminija, Urbina, Perude, Sijene i Napulja, a vrhunac je Rim, grad velikih papa renesansne epohe. U svakom gradu Italije, svedoci smo blistave parade prinčeva, kraljica, vojvoda, duždeva, zatim pesnika, istoričara, naučnika i filozofa; slikara, vajara, gravera, iluminatora, grnčara i arhitekata, čitajući mi, zapravo, prisustvujemo razvitku industrije, obrazovanja, ponašanja, morala, kriminala i mode, jer pred našim očima defiluju žene, ljubavi i venčanja, epidemije, gladi, zemljotresi i pogibije. Pred nama je snažni uspon čovečanstva koje se hrabro kreće od konačnog sveta ka svetu beskonačnosti. Ovo je, ujedno, i istorija naroda pod vedrom jutarnjom svetlošću renesanse, kada su bronzana vrata krstionice u Firenci postala simbol pravih rajskih dveri. U takvom ambijentu, sa Pikom dela Mirandolom saznajemo kako je čovek razmišljao, sa Makijavelijem kako je vladao, sa Kastiljoneom kako je živeo, sa Savonarolom kako je umirao. Na gotovo svakom koraku, Vil Djurant probranim rečima crta žive vinjete, Petrarke, Bokača, Kozima, Medičija, Fra Andelika, Donatela, Lorenca Veličanstvenog, Botičelija, Andreje del Sarta, Lodovika Mora, Beatriče i Izabele d Este, Leonarda da Vinčija, Bramantea, Pjera dela Frančeske, Sinjorelija, Perudina, Mantenje, Ariosta, Đovanija Belinija, Đorodonea, Aldusa Manucijusa, Koreda, Aleksandra VI, ezara i Lukreciju Bordžiju, Julija II, Lava X, Rafaela, Mikelanđela, Klementa VII. Autor dovodi priču do dramatičnog vrhunca sa rumenilom sutona Firence i Venecije posle strašnog pustošenja Rima 1527. godine, ali pokazuje kako je čak i opadanje renesanse bilo plodno zahvaljujući Ticijanu, Aretinu, Veronezeu, Celiniju, i, možemo reci, novom Mikelanđelovom životu. Tako nam je ukazano kako je renesansa, oživljavajući klasičnu kulturu, okončala hiljadugodišnju vladavinu orijentalnog duha u Evropi. Na kraju, sledi priprema za Erazma Roterdamskog, Frensisa Bekona i Dekarta, za Spinozu, Voltera, Gibona, Getea, kao i za titane našeg doba u kojima još živi duh renesanse. 07 REFORMACIJA Evropska civilizacija od Viklifa do Kalvina: 1300-1564. Knjigu karakteriše pomno izučavanje ljudi i ideja, verovanja i važnih događaja u doba reformacije. Rreformacije, svakako, predstavlja najznačajniji događaj moderne istorije i u isto vreme nastavak monumentalnog istoriografskog rada Vila Djuranta. Dramatičnost ove epohe, može se porediti sa našom, savremenom, u kojoj su dominirale i dominiraju revolucije i revolucionarna gibanja. Tokom perioda reformacije,socijalne revolucije prate versku revoluciju u gotovo svakoj fazi, tako da je ova knjiga napisana upravo sa tog nekonvencionalnog stanovišta dveju konvergentnih drama. Autor razmišlja o religiji uopšte, o njenom delovanju na pojedinca i na grupu, kao i o stanju i problemima Rimokatoličke crkve u toku dva veka pre Martina Lutera. On se bavi Engleskom, Nemačkom i Češkom, prikazujući ideje i sukobe luteranske reformacije, te sa simpatijama razmatra Erazmove napore usmerene na mirno samoreformisanje Crkve. 08 POČETAK DOBA RAZUMA Doba razuma jeste vreme Šekspira, Bekona, Montenja, Rembranta, Galilea i Dekarta u periodu 1558-1648. Autori u ovom tomu prikazuju razvoj nauke i vaskrsenje filozofije usred vojnih i verskih sukoba. To je, takođe, bilo i doba Keplera i Galileja, Đordana Bruna i Renea Dekarta, pronalaska složenog mikroskopa, teleskopa, termometra, barometra, logaritamskog i decimalnog sistema, otkrića planetarnih orbita i zakona. Postepeno su se rađali moderna Evropa i moderni um. 09 DOBA LUJA XIV Kralj Sunce predstavljen je u ovom tomu u svom najboljem, najgorem i najviše ljudskom izdanju. Engleska i Kromvel, Milton, Čarls I, Džonatan Svift, od genijalnosti do ludila. Švedska i Rusija u doba Petra Velikog. Knjiga se završava sumrakom ralja Sunca, o čemu je pisao i Štefan Cvajg, iz drugog ugla, na romansiran način, oslikavajući ukupnu Francusku tog doba - ali ovo što je Vil Djurant obradio, neuporedivo je, jer se on držao istorijskih činjenica, bez ikakvih izmena. 10 DOBA VOLTERA Doba prosvećenosti nije bez razloga nazvano DOBA VOLTERA, jer je upravo Volter bio najveći pobornik procvata umetnosti i nauke. U ovoj knjizi se Vil Djurant fokusirao na istoriju i dešavanja Francuskoj, Britaniji i Nemačkoj u periodu od 1715. pa do 1756. godine. Vladavina Luja XV, zatim engleska filozofska misp u prvoj polovini XVIII veka, pa Volterov rad, obogaćen podrobnim opisom tadašnjeg okruženja u kom su njegovi tekstovi nastajali. Sledi Johan Sebastijan Bah, jedan od najvećih kompozitora kako baroka, tako muzičke umetnosti uopšte, a na kraju, autor se ponovo vraća Volterovim mislima i tezama, kao i enciklopediji Denija Didroa i filozofskoj klimi tadašnje Evrope. 11 RUSO I RENESANSA Osvrt na dežavanja u Francuskoj i ostatku Evrope u periodu stvaranja Žan Žak Rusoa i tokom Francuske revolucije. Ova knjiga je, takođe, autora ovenčala Pulicerovom nagradom. Autor nas prvo upoznaje sa događajima iz Sedmogodišnjeg rata, dok se u daljem pisanju bazira na razlikama i sličnostima Voltera i Rusoa. Sledi analiza i prikaz katoličkog juga, gde govori o kulturnim i političkim dešavanjima u tadašnjoj Italiji, Španiji i Portugaliji, ali i o austrijskom vunderkindu, Volfgangu Amadeusu Mocartu. Nezaobilazan je i njegov osvrt na slovenske narode, kao i prisutnosti Osmanlija u tom delu Evrope, a tu je i deo posvećen vladavini Katarine Velike u Rusiji. Kao što je obrađen katolički jug, isti pristup je učinjen i kada je u pitanju protestantski sever, kao i Kantov filozofski rad. Džonsonova Engleska kao i krah francuskog feudalizma predstavljaju posebno obrađene teme, radi zaokruživanja tog, za istoriju značajnog perioda. 12 NAPOLEONOVO DOBA U ovoj knjizi, Djurant prati dešavanja iz perioda Francuske revolucije, kao i Napoleonovu vladavinu, uključujući njegova osvajanja i ratove. Osim što je u fokusu Francuska i Bonapartin uspon, autor kroz knjigu prati i kulturno-umetnička dešavanja i razvoj tadašnje Evrope, poput Betovena i književnih dela takozvanih Jezerskih pesnika Engleske. Na kraju, značajan deo knjige autor posvećuje opisu opsade Moskve, Vaterlou, a onda i potpunom krahu Napoleonove vojske, što prati i njegovo izgnanstvo na ostrvo Sveta Jelena, kao i dešavanja neposredno posle toga. Sa ovom knjigom, 12. tomom ISTORIJE CIVILIZACIJE, Vil Djurant završava svoje kapitalno delo. U opisu korišćeni podaci sa interneta.

Matica srpska, Srpska književna zadruga 1969-1972Stanje : Veoma dobro! 1. Stara srpska književnost I 2. Stara srpska književnost II 3. Stara srpska književnost III 4. Antologija narodnih lirskih pesama 5. Antologija narodnih epskih pesama I 6. Antologija narodnih epskih pesama II 7. Antologija narodnih pripovedaka 8. Antologija stare srpske poezije 9. Narodne umotvorine 10. Izabrani spisi – Dositej Obradović 11. Memoari – Simeon Pišćević 12. Prvi i Drugi srpski ustanak, Život i običaji naroda srpskog – Vuk Stefanović Karadžić (I) 13. Kritike i polemike – Vuk Stefanović Karadžić (II) 14. Pisma – Vuk Stefanović Karadžić (III) 15. Memoari – Prota Mateja Nenadović 16. Komedije – Jovan Sterija Popović (I) 17. Pesme, Proze – Jovan Sterija Popović (II) 18. Pjesme, Luča mikrokozma, Gorski vijenac – P. P. Njegoš (I) 19. Lažni car Šćepan Mali, Pisma – Petar Petrović Njegoš (II) 20. Rukovet – Branko Radičević 21. Odabrana dela – Ljubomir P. Nenadović 22. Pripovetke – Stjepan Mitrov Ljubiša 23. Jesen ratnika – Marko Miljanov 24. Pesme – Jovan Jovanović Zmaj 25. Pesme, Jelisaveta, Proza – Đura Jakšić 26. Odabrana dela – Laza Kostić (I) 27. Odabrana dela – Laza Kostić (II) 28. Odabrana dela – Jakov Ignjatović (I) 29. Odabrana dela – Jakov Ignjatović (II) 30. Odabrani spisi – Svetozar Marković 31. Odabrana dela – Milovan Glišić 32. Dela – Laza K. Lazarević 33. Hajduk Stanko – Janko M. Veselinović 34. Gorski car, Pripovetke – Svetolik Ranković 35. Pomenik – Milan Đ. Milićević 36. Bilješke jednog pisca, Bakonja fra Brne – Simo Matavulj(I) 37. Pripovetke, O književnosti – Simo Matavulj (II) 38. Pop Ćira i pop Spira, Pripovetke – Stevan Sremac (I) 39. Ivkova slava, Vukadin, Pripovetke – Stevan Sremac (II) 40. Izabrana dela – Vojislav Ilić 41. Studije iz srpske književnosti – Ljubomir Nedić 42. Čovek i istorija – Božidar Knežević 43. Satire – Radoje Domanović 44. Pauci, Pripovetke – Ivo Ćipiko 45. Izabrane stranice – Svetozar Ćorović 46. Jauci sa zmijanja – Petar Kočić 47. Nečista krv, Koštana – Borisav Stanković (I) 48. Pripovetke – Borisav Stanković (II) 49. Došljaci – Milutin Uskoković 50. Stari dramski pisci 51. Pjesme – Aleksa Šantić 52. Pesme, O pesnicima – Jovan Dučić (I) 53. Eseji, Putopisi – Jovan Dučuć (II) 54. Pesme – Milan Rakić 55. Pesme – Vladislav Petković Dis 56. Pesme – Sima Pandurović 57. Pesnici I 58. Pesnici II 59. Odabrane komedije – Branislav Nušić (I) 60. Odabrane komedije – Branislav Nušić (II) 61. Naučnici 62. Ogledi i članci iz književnosti – Bogdan Popović 63. Iz srpske istorije – Stojan Novaković 64. Pesnički prevodi 65. Iz književnosti – Pavle Popović 66. Pripovedači 67. Studije – Jovan Skerlić (I) 68. Kritike – Jovan Skerlić (II) 69. O književnosti i jeziku I 70. O književnosti i jeziku II 71. Pripovetke – Veljko Petrović (I) 72. Pesme, Eseji – Veljko Petrović (II) 73. Proza – Isidora Sekulić (I) 74. Ogledi i zapisi – Isidora Sekulić (II) 75. Ogledi – Pero Slijepčević 76. Pripovijetke – Isak Samokovlija 77. Pokošeno polje – Branimir Ćosić 78. Devetsto četrnaesta – Stevan J. Jakovljević 79. Pripovetke – Ivo Andrić (I) 80. Na Drini ćuprija – Ivo Andrić (II) 81. Lirika, Proza, Eseji – Miloš Crnjanski (I) 82. Serbia, Seobe, Lament nad Beogradom – Miloš Crnjanski (II) 83. Otkrovenje – Poezija, Proza, Eseji – Rastko Petrović 84. Pesme, Pripovetke, Drame – Momčilo Nastasijević 85. Pesme – Desanka Maksimović 86. Kritike – Milan Bogdanović 87. Izabrane stranice – Jovan Popović, Đorđe Jovanović 88. Čuvari sveta – Stanislav Vinaver 89. Poezija, Eseji – Skender Kulenović 90. Pripovetke – Branko Ćopić 91. Lelejska gora – Mihailo Lalić 92. Noć duža od snova (izbor tekstova) – Milan Dedinac 93. Koreni – Dobrica Ćosić 94. Bitka oko zida (izbor tekstova) – Dušan Matić 95. Derviš i smrt – Meša Selimović 96. Cveće i bodlje (izabrane pripovetke) – Erih Koš 97. Velika deca (pripovetke) – Antonije Isaković 98. Pesme – Vasko Popa 99. Pesme – Stevan Raičković 100. Dokolice – Dušan Radović

Ovaj komplet Istorije civilizacije 1 - 12 predstavlja klasično remek-delo istorije civilizacije: drevne i moderne, istočne i zapadne! Namenjena je širokoj čitalačkoj publici. Naučna istraživanja pretočena su u enciklopedijske zanimljivosti, a svetska kulturna baština predstavljena je obiljem podataka, mudrih zaključaka, zanimljivih, dramatičnih, jednostavnih i duhovitih događaja i ličnosti. Ovaj komplet sadrži 12 luksuzno opremljenih tomova: 1. ISTOČNE CIVILIZACIJE 2. ŽIVOT GRČKE 3. CEZAR I HRIST 4. DOBA VERE - prvi deo 5. DOBA VERE - drugi deo 6. RENESANSA 7. REFORMACIJA 8. POČETAK DOBA RAZUMA 9. DOBA LUJA XIV 10.DOBA VOLTERA 11.RUSO I REVOLUCIJA 12.NAPOLEONOVO DOBA

ISTORIJA CIVILIZACIJE I-XII Vil Djurant Povez: Tvrdi povez Pismo: Ćirilica Izdavač: Narodna knjiga i Vojnoizdavački zavod Godina izdanja: 2004. Stanje: odlično očuvano 1. Istočne civilizacije 2. Život Grčke 3. Cezar i Hrist 4. Doba vere (I) 5. Doba vere (II) 6. Renesansa 7. Reformacija 8. Početak doba razuma 9. Doba Luja XIV 10. Volterovo doba 11. Ruso i revolucija 12. Napoleonovo doba Ovaj komplet Istorije civilizacije 1 – 12 predstavlja klasično remek-delo istorije civilizacije: drevne i moderne, istočne i zapadne! Namenjena je širokoj čitalačkoj publici. Naučna istraživanja pretočena su u enciklopedijske zanimljivosti, a svetska kulturna baština predstavljena je obiljem podataka, mudrih zaključaka, zanimljivih, dramatičnih, jednostavnih i duhovitih događaja i ličnosti.

ISTORIJA CIVILIZACIJE I-XII Vil Djurant Povez: Tvrdi povez Pismo: Ćirilica Izdavač: Narodna knjiga i Vojnoizdavački zavod Godina izdanja: 2004. Stanje: odlično očuvano 1. Istočne civilizacije 2. Život Grčke 3. Cezar i Hrist 4. Doba vere (I) 5. Doba vere (II) 6. Renesansa 7. Reformacija 8. Početak doba razuma 9. Doba Luja XIV 10. Volterovo doba 11. Ruso i revolucija 12. Napoleonovo doba Ovaj komplet Istorije civilizacije 1 – 12 predstavlja klasično remek-delo istorije civilizacije: drevne i moderne, istočne i zapadne! Namenjena je širokoj čitalačkoj publici. Naučna istraživanja pretočena su u enciklopedijske zanimljivosti, a svetska kulturna baština predstavljena je obiljem podataka, mudrih zaključaka, zanimljivih, dramatičnih, jednostavnih i duhovitih događaja i ličnosti.

Pearl je 1973. godine postavio novi nivo u svetu bubnjeva kada je predstavio svoju verziju providnih bubnjeva nazvanu Crystal Beat. Proces izrade shell-ova iz jednog dela, izlivanjem akrila u kalup čini ove bubnjeve jačim i izdržljivijim jer spoj ne postoji.  Specifications:  - Shells:  7mm Seamless Molded Acrylic- Snare:  Matching Free Floater (sold separately)- Tom Arms:  Sold Separately- Tom Mounts:  OptiMount Suspension System- Hardware: Chrome- Heads:  2-Ply on Tom Batters, 1-Ply Resonant- Hoops:  1.6mm Triple-Flanged- Lugs:  CB Mid Lugs on Toms, CB Fat-Lugs on Bass- Finish: Transparent- Finish Color:  #730 Ultra Clear#731 Ruby Red#732 TangerineSet sadrži:  - 1x Bass Drum 22" x 16"- 1x Tom 10" x 7"- 1x Tom 12" x 8"- 1x Floor Tom 16" x 15"NAPOMENA: Doboš, stalci, činele i pedala nisu uračunati u cenu.   Šaljemo Post Express-om Music Trade instruments & moreBeograd:  Music TradeJug Bogdanova 14011/ 4084 932 Novi Sad:  Music TradeŠafarikova 20021/6616-077

Pearl je 1973. godine postavio novi nivo u svetu bubnjeva kada je predstavio svoju verziju providnih bubnjeva nazvanu Crystal Beat. Proces izrade shell-ova iz jednog dela, izlivanjem akrila u kalup čini ove bubnjeve jačim i izdržljivijim jer spoj ne postoji.  Specifications:  - Shells:  7mm Seamless Molded Acrylic- Snare:  Matching Free Floater (sold separately)- Tom Arms:  Sold Separately- Tom Mounts:  OptiMount Suspension System- Hardware: Chrome- Heads:  2-Ply on Tom Batters, 1-Ply Resonant- Hoops:  1.6mm Triple-Flanged- Lugs:  CB Mid Lugs on Toms, CB Fat-Lugs on Bass- Finish: Transparent- Finish Color:  #730 Ultra Clear#731 Ruby Red#732 TangerineSet sadrži:  - 1x Bass Drum 22" x 16"- 1x Tom 12" x 8"- 1x Floor Tom 14" x 13"- 1x Floor Tom 16" x 15"NAPOMENA: Doboš, stalci, činele i pedala nisu uračunati u cenu.   Šaljemo Post Express-om Music Trade instruments & moreBeograd:  Music TradeJug Bogdanova 14011/ 4084 932 Novi Sad:  Music TradeŠafarikova 20021/6616-077

Pearl je 1973. godine postavio novi nivo u svetu bubnjeva kada je predstavio svoju verziju providnih bubnjeva nazvanu Crystal Beat. Proces izrade shell-ova iz jednog dela, izlivanjem akrila u kalup čini ove bubnjeve jačim i izdržljivijim jer spoj ne postoji. Specifications:  - Shells:  7mm Seamless Molded Acrylic- Snare:  Matching Free Floater (sold separately)- Tom Arms:  Sold Separately- Tom Mounts:  OptiMount Suspension System- Hardware: Chrome- Heads:  2-Ply on Tom Batters, 1-Ply Resonant- Hoops:  1.6mm Triple-Flanged- Lugs:  CB Mid Lugs on Toms, CB Fat-Lugs on Bass- Finish: Transparent- Finish Color: #730 Ultra Clear#731 Ruby Red#732 TangerineSet sadrži:  - 1x Bass Drum 20" x 15"- 1x Tom 10" x 7"- 1x Tom 12" x 8"- 1x Floor Tom 14" x 13"NAPOMENA: Doboš, stalci, činele i pedala nisu uračunati u cenu.   Šaljemo Post Express-om Music Trade instruments & moreBeograd:  Music TradeJug Bogdanova 14011/ 4084 932 Novi Sad:  Music TradeŠafarikova 20021/6616-077

Opis Ovaj komplet Istorija civilizacije 1 - 12 predstavlja klasično remek-delo istorije civilizacije: drevne i moderne, istočne i zapadne! Namenjena je širokoj čitalačkoj publici. Naučna istraživanja pretočena su u enciklopedijske zanimljivosti, a svetska kulturna baština predstavljena je obiljem podataka, mudrih zaključaka, zanimljivih, dramatičnih, jednostavnih i duhovitih događaja i ličnosti. Ovaj komplet sadrži 12 luksuzno opremljenih tomova: 1. ISTOČNE CIVILIZACIJE 2. ŽIVOT GRČKE 3. CEZAR I HRIST 4. DOBA VERE - prvi deo 5. DOBA VERE - drugi deo 6. RENESANSA 7. REFORMACIJA 8. POČETAK DOBA RAZUMA 9. DOBA LUJA XIV 10.DOBA VOLTERA 11.RUSO I REVOLUCIJA 12.NAPOLEONOVO DOBA Povez knjige : tvrd Strana : 10134 Format : 210mm x 290mm Pismo : ćirilica

Proizvođač: Josef Carl von Klinkosch (1822. Beč – 1888. Beč) Datum: Beč oko 1923.Na svakom delu monogram "AK" gde slovo "A" odgovara Dinastiji KarađorđevićMožda Arsen Karađorđević Materijal: Srebro 800 (svaki komad proveren grebanjem i kiselinom) Proizvođačka oznaka: „JCK 800“ (Klinkosch, 800 srebra)Oznake snimljene elektronskom lupomUkupna težina: 5300gr.Ukupna težina u srebru: 4772gr. (Odbijeno 528gr.za oštrice noževa)Kutija: Od drveta presvučena kožom Mere: V-11cm, Š-51,5cm, Dubina-35cm Opis: Ukupno 94komada u 2 pregrade za 12 osoba12 stolnih noževa, 12 viljuški, 12 noževa za predjelo,12 viljuški za predjela, 12 Supenih kašika, 12 kašika za dezert, 12 kašika za kafu,1 kutlača za supu, 1 kutlača za sos, 1 Kašika 1 viljuška za serviranje, 1 kašika i 1 viljuška za salatu,2 posude za sos ili kavijar sa orginalnim staklenim posudama,i 2 kašičice za sos ili kavijar.