1 547 résultats
iii + 77pp., édition 'hors-commerce', 21cm., br.orig.
Paris, Fournier, 1843. (mm. 265 x 165). Bella legatura coeva in mezza pelle con titolo e fregi dorati al dorso e ricche arabesque ai piatti; tagli dorati. pp. (4),VIII, 280, 1 c. b. Secondo frontespizio inciso e 31 tavole f.t. protette da velina, raffiguranti vikinghi, Thor, druidi, ondine, Krisna, pellegrinaggio alla Mecca, veduta di Surate, Zohac, Jamschid e molte altre. Raro esemplare completo di tutte le tavole con disegni di Mme Rhéal et M. A. Fragonard.
in-8, 169 pp., illustrations, broché. Bon état. [ENS]
1 vol in-16, 317 pages, carte, notes, broché, couverture illustrée. Bel exemplaire. [JL-1][@]
Very Good French Paperback. Pbo. Roy. 8vo. (23 x 16 cm). In French. 241-252 pp. Les critiques d'Ibn As-Salah sur le 'De Coelo' d'Aristote et sur ses commentaires. Ibn As-Salah's criticisms of Aristotle's 'De Coelo' and his comments. Signed and inscribed by Türker.
- A. Jourdan, Alger 1888, 16,5x25,5cm, broché. - Edition originale. Tampon de bibliothèque, piqûres sur les plats et sur les gardes, petites déchirures en pied du dos, agréable état intérieur. Envoi autographe de Eugène Godefroy sur le premier plat. [ENGLISH DESCRIPTION ON DEMAND]
- Extrait de la Revue des deux mondes, s.l. (Paris) 1879, 15,5x25cm, agrafé. - First edition. Plain paper cover. Rare. [FRENCH VERSION FOLLOWS] Edition originale. Sous couverture muette. Rare.
- Extrait de la Revue des deux mondes, s.l. (Paris) 1878, 15,5x25cm, agrafé. - First editions. Plain paper cover. Rare. [FRENCH VERSION FOLLOWS] Editions originales. Sous couverture muette. Rare.
in-8°, 293 pages, broche, couverture illustree a rabats. Bon etat (Qq. rousseurs a la couv.). [109B-5] Traduction nouvelle et complete faite sur les manuscrits
Office des Publications Universitaires, Alger. 1993. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 413 pages. Réimpression 1993. L'écriture arabe. Les trois catégories de mots. Déclinaison des noms...
Paris, Editions Jérôme Martineau, La Bibliothèque arabe, 1970. In-8, broché, 150 pp.
- Extrait de la Revue des deux mondes, s.l. (Paris) (1852), 15,5x25cm, agrafé. - First edition. Plain paper cover. Rare. [FRENCH VERSION FOLLOWS] Edition originale. Sous couverture muette. Rare.
Broch?. 166 pages. Tr?s bon ?tat.
- Extrait de la Revue des deux mondes, s.l. (Paris) 1881, 15,5x25cm, agrafé. - First edition. Plain paper cover. Rare. [FRENCH VERSION FOLLOWS] Edition originale. Sous couverture muette. Rare.
- Lucien Vogel éditeur, Paris Avril 1920, 18x24cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. Gravure originale réalisée pour l'il
- Editions de l'Aucam, Louvain 1933, 12x19cm, broché. - Edition originale. Caractères ethniques, vie familiale, vie sociale, vie intellectuelle et artistique, vie religieuse... 33 photographies et une carte dépliante in-fine. Petites éraflures marginales avec infimes manques affectant le premier plat, sinon agréable exemplaire. Rare. [ENGLISH DESCRIPTION ON DEMAND]
Broch?. 412 pages. L?g?re mouillure en marge.
Cartonnage de l'?diteur. 175 pages. Jaquette. 20x25 cm.
Paris, Robert Delpire, Encyclopédie essentielle, série Histoire N° 4, 1959. In-8, format à l'italienne, (21,5 cm x 19 cm), cartonnage en couleurs, 104 pp. Iconographie en noir et en couleurs, dans et hors texte. Bel ex.
Very Good French Paperback. Demy 8vo. (22 x 14 cm). In French. 32 p. Les Arabes Israeliens et les elections a la quatrieme knesset (Extrait de L'International Review of Social History [Amsterdam], Tome 7).
Very Good French Paperback. Roy. 8vo. (24 x 17 cm). In French. 51 p., b/w plates. Les Arabes en Israel.
Broch?. 154 pages. Tr?s bon ?tat.
viii + 303pp., signé avec dédicace autographe par l'auteur à mr. P. van den Ven, 26cm., brochure originale, dans la série "Studi e Testi" volume 192, bon état, C103509
Alger, Adolphe Jourdan, (1913), 22 x 14,5 cm., cartoné editorial impreso y lomo en tela, VII págs. en francés + 176 págs. en árabe.
