740 résultats
25226Note dated 16 May 1999. Some of the photographs taken in 'France May 1999' for Italian Vogue. Bündchen’s career began in London in 1998. Since 2001 she has been one of the highest-paid fashion models in the world. In 2007 Forbes listed her as the sixteenth-richest woman in the entertainment industry. In 2019 Claudia Schiffer described her as the last of the supermodels. Comte’s fashion and portrait photography have appeared in a wide range of publications primarily Italian Vogue. In 2000 he was named Photographer of the year by PHOTO magazine. The present collection consists of sixty-three photographs of Bündchen five in colour and fifty-eight in black and white evidently taken by Comte laid down with a covering note to him from her on twenty-one pages over eleven leaves of foolscap 8vo extracted from an album. In good condition lightly aged. Covering the whole of the first page is the Autograph Note Signed by ‘Gisele Bündchen’ 16 may 1999 with a curl at the end of the signature enclosing a childish smiling face. At top right is a very simple drawing of a flower. The note is in a childish hand and is headed ‘Michel’ and reads ‘Obrigada por tudo. Tive um timpo moravilhoso. sic Um muito carinho / Gisele Bündchen / 16-05-99’. On the reverse of the leaf are three colour photographs variations of the same scene of Bündchen posing in front of a crowd of tourists the pages that follow carry similar triplets or quartets of photographs taken at the same time. The 31 photographs on the first ten pages arranged in ten groups appear to come from the same outdoor shoot with Bündchen striking a pose while surrounded by members of the public. The two pages that follow carry five associated images of Bündchen in a bikini striding across a rocky beach. These are followed by another five over two pages this time showing Bündchen’s head and shoulders as she drapes what looks like a mink stole over her head. There are also eight images in two groups of Bündchen screaming and a group of four that show her smoking a cigarette while adorned in a somewhat garish necklace and earings. The latter group is mounted on a leaf captioned ‘ “Gisele im Cannes†Italian. Vogue / France May’. Mounted on the twenty-second page of the eleven leaves is what appears to be an unrelated item: a letter in German also written in a childish hand in felt-tip pen with large illegible signature something like ‘Mamti Rigis’ dated from Paris 19 may 1999. It reads: ‘Merci Michel / Das war bis jetzt das beste Fotoshooting das ich bisher machen konnte! Sehr erfischend mit super Ideen! Ich hoffe auf ein baldiges wiedersehen: vielleicht mit Pferden. / Paris. 19. Mai ’99’. Note dated 16 May 1999. Some of the photographs taken in 'France, May [1999]' for Italian Vogue. unknown
1930D4922likely America c. 1930s. Fine. Group of 10 original costume studies on heavy cardstock mounts ranging in size from about 9.5-by-10.5 inches to 13-by-18 inches in pen-and-ink or grey wash heightened in white. Circa 1930s America. Presumably created by S. C. Cavanagh Ltd. with the firm's name in pencil along the bottom edge of many of the studies. Expertly carried out illustrations of elegant women in long coats or evening jackets pinky fingers held delicately aloft. All cards a little rubbed and smudged along the edges but overall nice and bright suitable for display. A wonderful collection for the classic or vintage stylist. <br/><br/> unknown
192278454Paris: Dorbon-Ainé 1922. Hardcover. The second volume only. Collection of beautifully colored pochoir plates depicting elite fashion published originally in La Gazette du Bon Ton between 1920 and 1922. Includes work by Barbier Benito Bonfils Brissaud and many others. Royal octavo: 2 pp. with 100 color plates one two-panel. The red marbled paper-covered boards have been expertly rebacked with the original spine strip laid down. Small indentation to the fore-edge of about a quarter of the plates not affecting the images. Some general edgewear to the boards. Dorbon-Ainé hardcover
193754988Chicago: Ferris Woolen Co. Successor to Detmer Brewer & Mason Wawak Co. Inc. 1937. Sample case. 27.75 x 11 x 7.5 in. Containing 172 thick cards w/ black & red advertising lettering stock & style Nos. with 172 woolens worsted wool imported wool samples some preshrunk all mounted on the cards. Original sample display case w/ green textured cloth over boards divided into 3 compartments nickel plate slider hinges printed advertising on inner lid and drop front reinforced corners some minor wear insect predation around fore-edges of a few samples still a remarkable display case from the John the Tailor Shop Suits and Overcoats made to order Wausau WI w/ stamp on top Wawak sample card. First edition of this spectacular tailoring sample counter display for men’s suits and overcoats in the Fall & Winter of 1937-1938. Ferris Woolen Company a subsidiary of Wawak Woolens was originally founded in 1922 in Chicago along with Detmer Woolen Co. Bruner Woolen Co. Mason & Hanson Inc. and Salter & Wolf to supply woolens & trimmings to tailors and department stores across the United States. The companies were known for their high-quality wools at a reasonable price and often incorporated imported wool wool silk blends gabardines and tweeds especially from Scotland Wales France and Great Britain. In 1933 the Wawak Co./Ferris Woolen Co. purchased the exclusive right to all the Detmer Bruner Co. customers West of the Mississippi. They quickly began commissioning and producing display cases reflecting the change and proved very successful with the Ferris Woolen Co. catering to the trade into the 1960s. These sample cases were very expensive to produce and so were most often found in department stores mercantiles and men’s stores which would have these display on the sales floor for two seasons or more often adding or subtracting fabrics as they became available. The samples included with this case offer invaluable textile reference for the colours and fabrics during the era of fashion influenced by the elegance and glamor of Hollywood films and film noir at the time. The styles depicted on the inside of the lid and the drop-down front are reminiscent of the very popular Thin Man fashions worn by William Powell and Myrna Loy at the time. No copies located in Worldcat. Ferris Woolen Co., Successor to Detmer, Brewer & Mason, Wawak Co., Inc., hardcover
191148842Cincinnati OH: Goldman Beckman & Co. 1911. Elephant folio. 21 x 18 x 1.75 in. 50 pp unpaginated printed on thick card stock each mounted on linen hinge. 17 colour plates 1 page w/ colour-illustrated borders 8 black & white plates with 150 mounted textile samples in wool wool worsted blends some felt backed moleskin cashmere and more -- all samples clearly marked with prices and availability many with damage from insecty predation occasional soot soiling soiling to fore-edges many of the images with illustrations of models in period dress in backgrounds and around borders. Half-black cloth over green gilt lettering and embossing of Company logo on front cover illustrated endpapers with the different suit models on pastedowns occasional soot soiling foxing minor dustsoiling from fabric dust cloth covers renewed w/ original company logo & title mounted front cover still a G copy entirely complete with all samples present. First edition of this scarce salesman sample fashion catalogue for men’s suits in the Edwardian era prior to World War I. Goldman Beckman & Co. was owned by Louis Goldman 1850-1921 who had founded the firm in 1894 after decades in the wholesale suit tailoring business marketing to men & young men. The catalogues were very expensive to produce and so were most often found in department stores mercantiles men’s clubs and men’s stores which would have these catalogues on the sales floor in the Cincinnati area. This catalogue offers invaluable illustrated historical reference for the colours styles and fabrics during the Progressive Era. Many of the plates show elegantly dressed men and women in the park the flower show at the museum playing sports and even preparing to go on a canal boat. In addition there are a number of plates showing properly cut trousers and the available cuts special sections devoted to fancy cuffs and pockets fitted backs men’s hats formal wear and much more. No copies located in Worldcat. Goldman, Beckman & Co., hardcover
193057289Nottingham UK: Vida Mills Jones Stroud & Co. Ltd. ca. 1930. Thick 8vo. 26 pp unpaginated. on thick card stock w/ burgundy linen hinges at gutter margin w/ 113 rayon elastic nylon elastic rubber and silk rayon blend trims 1 silver gelatin frontisp. photo mounted on front pastedown sized 3.5 x 5.5 in. w/ 10 colour-printed & illustrated labels and elastic holders tipped-in numerous printed photographic plates. Quarter-burgundy coloured cloth over simulated alligator boards screw posts at gutter margin minor rubbing slight bumping to corners 1 sample removed still a VG copy. First edition thus of this extraordinary and inventive salesman sample catalogue for elastic trims between the Wars. Horace Jones had invented a specialized braiding machine in 1927 for creating elastics by braiding rubber filaments together with rayon nylon cotton or silk-rayon blends to create a number of different “Elastic†Boil Proof Vida trims. Prior to the widespread introduction of many stretchable and elastic fabrics following World War II Vida Mills products were used shoulder straps for lingerie suspenders both for men and women’s fashions swim trunk and briefs trunk top elastic bands. In addition these were used for car covers bags accessories creating pleats sleeve hems and much more. In addition there are a number of samples included here for durable boot and shoe laces. The coloured and metallic Ric Rac trims were used in costumes uniforms decorative elements on clothing and many other applications. By 1930 the company had deployed 3000 braiding machines generating over 52 million yards of elastic braid annually and in 1940 expanded into manufacturing glass tapes and woven fabrics for electrical installations and industrial Wartime applications. The company still operates today as the Jones Stroud Insulations Ltd. subsidiary of the Krempel Group since 2000. No copies in Worldcat; See: History of Jones Stroud Insulations -- Timeline Krempel 2015; Trade Marks Ordinance Official Gazette Kenya Dec. 4 1956 p. 1315. Vida Mills, Jones Stroud & Co., Ltd., hardcover
Q1242<p>A generous twentieth-century sample book representing several decades of the Nottingham lace trade. Assembled in a purpose-made binder 17 x 9.5 x 4.5 inches ideal for adding removing and generally rearranging pages. 157 total samples mostly half-page size ~8 x 6 inches. The tallest sample unfolds to 28" and several others extend between leaves up to 14 inches wide. Each specimen has a small label with manuscript number. Several numerical series are represented in the binder likely referring to different mills. 12 of the samples have an "Alan Litman Ltd." sticker a wholesaling firm founded in 1946 and one of the few businesses to weather the Nottingham lace industry's terminal decline throughout the twentieth century.</p><p>The samples are compiled in a Priestley & Swann "Patent Self Binder" that allows for contents to be regularly updated and changed out to reflect stock. Based on advertising and newspaper presence Priestley & Swann appears to have been the most active ca. 1910-1920s then fades from mention around the start of World War II. Another example of their "Patent Self Binder" is a lace sample book held at the Yale Center for British Art believed to be from another Nottingham lace maker in the 1920s Ernest Fewkes.</p><p>As the Nottingham lace businesses shuttered stock could be acquired by the remaining firms. The origin of this album is unknown but it was ultimately used as an in-house reference for Alan Litman confirmed by a current representative of the business. New samples were added through the 1960s with older samples and panels being removed to reflect changing inventory. The binder shows evidence of these changes where manuscript page numbers are crossed or cut out. Several pages were trimmed along the outer edge where some were paginated in the upper corner and at some point rearranged with new pagination assigned at the top center. Some later samples were mounted on pages that had already been repaired with tape also indicating its longtime use in the trade. The makeshift repairs extended the discontinued binder's lifespan a testament to Priestley & Swann's purpose-perfect format.</p><p>A beautiful object in salvaged condition subject to an eclectic series of repairs and repairs of repairs partially paginated in ballpoint pen with sporadic doodling and clipping to the foredges. About two-thirds of the pages were previously repaired with sellotape that had badly degraded and discolored; those mends have been remade with archival tape with additional reinforcements intended to allow the album to be gently handled without further deterioration. Discoloration has been corrected with acid-free pigment to lessen visual interference and strengthen the adhesive-damaged surfaces. New panels have been fitted to the binder posts which are reinforced with cloth binding tape. The result is a somewhat anachronistic object and rare active document of the firm's offerings with the final contents heavily representing the high fashion and novelty laces of the fifties and sixties. Remarkable for their large size and rejection of the delicate lace stereotype–more rock n roll than romance–these brilliant colors and dynamic designs are emblematic of Mod fashion and representative of how Litman adapted to stay in business.</p><p><em>Shipping will be calculated at cost. More photos available at https://alsobooksbooks.com/products/early-twentieth-century-nottingham-lace-specimen-book-with-samples-extending-into-the-1960s</em></p>
1920199741920. Vernacular fashion illustration archive circa 1920s-1950s documents the evolution of women's dress and stylistic ideals across early and mid-twentieth-century design with emphasis on silhouette material and aspirational presentation. The drawings capture shifts from the elongated androgynous forms associated with 1920s and 1930s fashion to the structured tailoring and fitted garments of the postwar period. Elements such as exaggerated shoulders cinched waists and coordinated ensembles situate the works within broader developments in women's fashion including the influence of tailored suits and formal eveningwear. The illustrations also record accessory culture including gloves hats and jewelry positioning dress within a larger system of social signaling and presentation tied to class gender norms and modern consumer identity.<br /> <br /> United States and possibly Europe circa 1920s-1950s. Archive of six original gouache and pencil fashion illustrations on hard mat boards and one on thick watercolor paper each measuring approximately 10 x 7 to 10 x 15 inches. Several works bear artist signatures or initials including examples signed "Virginia" and "G. Wichner." Two dated compositions from April 11 1954 depict coordinated ensembles including a rose-toned set with a pencil skirt and structured blazer rendered with detailed attention to tailoring and fabric accents. Other illustrations include multi-figure studies of women in draped garments with belted waists a single-figure composition in a long gown with fur coat and elongated cigarette holder and portrait studies featuring headpieces veils and bold cosmetic styling. Use of shading color variation and line work emphasizes fabric texture garment movement and body form.<br /> <br /> Produced during a period of significant transformation in women's fashion these illustrations align with the development of modern fashion media including editorial illustration design sketching and commercial garment production. The visual emphasis on proportion tailoring and accessorization reflects the increasing codification of fashion as both industry and cultural expression in the twentieth century. As original works the drawings provide insight into the processes of design visualization and stylistic interpretation supporting research into fashion history gender presentation and visual culture. Light handling wear to mounts and sheets; overall very good condition. unknown
1950218261950. Fashion design archive. 1950s-1960s. This group documents mid-century women's fashion design practice through a sustained body of original sketches and working notes showing how garments were conceived annotated and prepared for construction during a period of stylistic transition in American dress. The material provides direct evidence of design thinking at the level of silhouette fabric selection and pattern planning including repeated attention to cocktail wear outer garments and formal dress. It captures the movement from structured postwar styles toward more experimental and decorative approaches associated with later mid-century fashion with particular emphasis on the technical and aesthetic decisions made by a designer or dressmaker.<br /> <br /> Archive of over 100 original hand-drawn fashion sketches on individual sheets measuring approximately 6.5 x 9 inches executed in ink with extensive handwritten annotations on rectos versos and margins. The drawings depict a range of women's garments including dresses blouses coats and evening wear with recurring titles such as "cocktail dress" "cocktail cape" and "dress." The figures are rendered with attention to line proportion and textile texture often emphasizing drape fitted bodices and surface embellishment. Annotations provide detailed construction guidance including measurements fabric types and pattern instructions. One design for a strappy dress specifies "Pattern: leopard or zebra fur attached.fabric velveteen.color red -- orange -- black." indicating experimentation with bold materials and color combinations. The consistent pairing of image and instruction suggests use as a working portfolio either for client presentation dressmaking production or formal training.<br /> <br /> Mid-century fashion in the United States expanded through department stores home sewing and professional dressmaking with designers and students producing working sketches that translated style into reproducible garments. The presence of detailed technical notes alongside finished illustrations places this archive within that production process linking aesthetic design to practical construction. Light wear from handling; overall very good. A concentrated record of mid-century women's fashion design practice preserving both the visual language and technical methods used to create garments during a period of evolving style. unknown
1950218281950. Fashion design archive likely 1950s to 1960s documenting women's garment design during the mid-century through original working sketches that preserve both style development and the practical language of dressmaking. The archive is strongest as evidence of how women's fashion was conceived on paper before production with repeated attention to silhouette trim fabric and construction. Dresses blouses coats and eveningwear appear throughout placing the material within the visual world of postwar American fashion as it moved from structured elegance toward sharper and more decorative later mid-century forms.<br /> <br /> Archive of over 100 original hand-drawn fashion sketches on individual sheets measuring approximately 6.5 x 9 inches. The drawings are executed in ink and depict a wide range of women's clothing including fitted dresses capes blouses coats and formal designs with careful attention to drape proportion neckline sleeve treatment and surface embellishment. Many sheets are accompanied by dense handwritten notes in the margins or on the reverse recording measurements fabric suggestions and pattern or construction instructions. The combination of illustration and notation gives the sheets the character of working designs rather than purely display drawings and suggests use in dressmaking training or client planning.<br /> <br /> The archive belongs to the history of women's fashion not only as a record of finished styles but as evidence of the design process itself preserving the intermediate stage between idea and garment. Such working sketches show how fashion circulated through manual skill technical knowledge and close attention to fabric and form in the decades before design became fully digitized. Light general wear from use; overall very good. A substantial mid-century design archive that preserves the visual and technical vocabulary of women's fashion making across more than one hundred original sketches. unknown
190556908Chicago IL: American Woolen Mills Co. 1905. Thick elephant folio 17.5 x 21.5 x 3.25 in. 58 pp. printed on thick card stock each mounted on linen hinge. With 6 black & white fashion plates illustrating suit styles of the period with 380 of 400 -- many marked in pencil “O.S.†or Out-of-Stock mounted textile samples in wool wool-silk blends -- all samples clearly marked with prices and availability numerous text illustrations decorative borders printed in colour many showing bucolic scenes of sheep pastures and winter frolics. Black & blue cloth Arts & Crafts gilt lettering & ornament on front cover expertly rebacked and back cover renewed dustsoiling and occasional soiling to some leaves some samples w/ predation and minor loss dampstaining to gutter margin of last few leaves minor loss & damage to last couple leaves still a good copy. First edition of this scarce Progressive-era salesman sample catalogue for Winter season men’s suits overcoats and evening wear. The American Woolen Mills Company also known as the “Progressive Tailorsâ€maintained a huge tailoring operation in Chicago at Union & Washington until the Great Depression employing hundreds of tailors and seamstresses to fill orders. Unlike J.L. Taylor Royal Tailors and many of the other tailoring houses of the period the American Woolen Mills targeted the average white collar clerk or American immigrant salesman and merchant trying to look professional and offered $ 15.00 high class made to measure suits. These catalogues were very expensive to produce and were often issued with minimal company brand names allowing their sales force to target small shops mercantiles and general stores which would have these catalogues on the sales floor for several years. Sales people were directed to simply clip the corners of samples for out-of-stock and discontinued fabrics but they often chose to remove the entire sample in order to not distract potential customers. The catalogue offers invaluable illustrated historical reference for the colours styles and fabrics during the era of Teddy Roosevelt and the Anti-Trust policies even referring to these in their sales pitch by claiming that unlike Trusts which “by combining saves numerous expenses and sticks ALL the savings in its own pocket. . . there is no Trust in the tailoring trade.†They further claim that they remove all middlemen procure woolens directly from the weavers and by avoiding wastes of all kinds that AWM CO. lowers their prices and “it is a public benefit.†The textiles here focus on darker shades and very muted colours along with durable thick fabrics while marketing their double-breasted sacks 3-button frock coats 2-button single breasted suits assorted overcoats and more. No copies in Worldcat; See: Swell Nifty Suit Free! The Household Journal Vols. V No. 8 August 1912 p. 6; Machinists’ Monthly Journal Vol. XVII No. 3 March 1905 p. 282. American Woolen Mills Co., hardcover
193773769Chicago: Ferris Woolen Company 1937. Original hinged sample case with drop front 27 3/4 x 11 x7 1/2 inches. Containing 174 thick cards printed in black and red; each with a mounted woolen worsted wool imported wool sample. Original sample display case w/ green textured cloth over boards divided into Three compartments nickel plate slider hinges printed advertising on inner lid and drop front reinforced corners a remarkable display case from the John the Tailor Shop Suits and Overcoats made to order. Wonderful graphic label on interior of lid featuring dapper dressers and period automobiles.Spectacular tailoring sample counter display for men’s suits and overcoats in the Fall & Winter of 1937-1938. Ferris Woolen Company a subsidiary of Wawak Woolens was originally founded in 1922 in Chicago along with Detmer Woolen Co. Bruner Woolen Co. Mason & Hanson Inc. and Salter & Wolf to supply woolens and trimmings to tailors and department stores across the United States. The companies were known for their high-quality wools at a reasonable price and often incorporated imported wool wool silk blends gabardines and tweeds especially from Scotland Wales France and Great Britain. In 1933 the Wawak Co./Ferris Woolen Co. purchased the exclusive right to all the Detmer Bruner Co. customers West of the Mississippi. They quickly began commissioning and producing display cases reflecting the change and proved very successful with the Ferris Woolen Co. catering to the trade into the 1960s. These sample cases were very expensive to produce and so were most often found in department stores mercantiles and men’s stores which would have these display on the sales floor for two seasons or more often adding or subtracting fabrics as they became available. The samples included with this case offer invaluable textile reference for the colors and fabrics during the era of fashion influenced by the elegance and glamor of Hollywood films and film noir at the time. The styles depicted on the inside of the lid and the drop-down front are reminiscent of the very popular Thin Man fashions worn by William Powell and Myrna Loy at the time. Ferris Woolen Company hardcover
193045898Troy NY: Arrow Shirt Co./ Cluett Peabody & Co. Inc. ca. 1930; 1955. Quarter-sawn oak salesman sample counter display case 18.75 x 6 x 6 ins. with glass top & front door in back with catch w/ original label at bottom of the display indicating that this case was only to be used for the display of the Company collars preserving two Arrow Shirt Co. Collars some scuffing and wear to label at bottom of case affecting lettering minor wear to sides of case together with original Leyendecker advertisement printed on canvas w/ oak frame 28.5 x 21.5 ins. the piece has been professionally cleaned and mounted on archival foam core and removed from the original bars which were damaging the image and placed back in the oak frame some sunning faint discoloration to upper left margin still remarkable pieces. A wonderful advertising display for Arrow shirts and collars including pre-World War II counter sample case and 1950s promotional ad reproducing one of the famed Leyendecker images. These pieces originally came out of a small men’s clothing shop in Bend Oregon. The Arrow collars grew from the marketing idea by Cluett Peabody & Co. in Troy NY that it gave women an easier way to clean their husbands’ stained shirt collars without having to wash the entire shirt. In addition the collars wore out a much faster rate than the rest of the shirts so these replaceable collars would extend the life of the garments. This style of detachable collars remained popular up until the mid-1930s and largely declined out of use by the end of World War II.Leyendecker 1874-1951 created the Arrow Collar Man which was an advertising campaign that ran from 1905 - 1931 and was perhaps one of the most successful product brands in history. He created 100s of images and many of them are still synonymous with men’s fashion and styles. This advertisement was part of a revived campaign by Arrow Shirt Co. in the 1950s through early 1960s as they revived the nostalgia of the Leyendecker ads and pushed their shirts with soft collars. Arrow Shirt Co./ Cluett, Peabody & Co., Inc., hardcover
190555463Conventry London & New York: J. & J. Cash Ltd. ca. 1905. 4to. 16 pp unpaginated. thick double-sided coated card stock w/ 153 of 154 woven silk labels sized from .5 x 1 in. up to 3 x 3 in. or 2.25 x 5 in. in a myriad of colours many pictorial assorted font styles. Full calf gilt lettering stamped on front cover scuffing edgewear minor ink stain to fore-edge of front cover not affecting textblock minor damage & repair to inner front hinge still a VG- copy. First edition of this exceedingly rare and fascinating salesman sample catalogue of woven silk labels produced by the famed millinery and ribbon novelties company. Founded originally as a ribbon weaving company in 1846 by John and Joseph Cash the firm quickly expanded and developed it’s techniques and products throughout the Victorian and Edwardian eras. They developed whole lines of monogrammed silk labels striking manufacturers silk labels and tailoring labels for identifying clothing lines hosiery hats blankets and more. The labels could be purchased in “Best Quality†and “B Quality†lots by the prospective companies and these samples within the catalogue encompass such examples as those for Spirella Corsets I.&R. Morley’s Theta Flying Wheel shirts H.C Lucking Tailor & Outfitter Shoreham with view of the suspension bridge Snipe Weatherproofs with iconic image of snipe Dracoproof for all Weathers Fair or Foul with image of swimming mallard duck and so many others. The catalogue also includes silk millinery ribbons and labels made in 14 inch lengths quality coat hanger labels beautifully monogrammed badges and hat bands and also includes labels which can be carefully lifted from elastic to show the quality of the weaving. No copies located in Worldcat. J. & J. Cash Ltd., hardcover
1950206231950. Archive of three black and white silver gelatin photographs of black models dating from the 1950s-70s. Photographs measure approx. 8" x 10". This archive includes a press photo from 1974 showing model Beverly Bradshaw posed in front of a museum display of elephants wearing a traditional Nigerian Ibo wrapped dress designed by Angie Ihejirika. Article on verso from the Chicago Sun Times details Mrs. Ihejirika's demonstration of the art of African wrapping at the Field Museum of Natural History. Photo has a bald patch on left side not affecting subject matter. Also included is a print of twelve Kodak film cells showing actress and model Nancy Westbrook in a series of poses sitting within a large picture frame. Seven images show Westbrook in a bikini and five wearing only a fur stole. These photographs date to the early 1950s and least one the third down on the left appeared in Jet Magazine with a short profile of Ms. Westbrook in 1953. Another photograph undated shows a black model in profile from the neck up smiling in a sun hat tilted away from camera to frame her head with a halo-like effect. Modeling in fashion and print has historically been dominated by white women reflecting a bias in beauty standards in the United States. These images show black women claiming space in the often exclusionary fashion world of the mid-late 20th century. Overall very good condition. Three images of black fashion models in the US 1950s-70s. unknown
19692091502133700842Kakusado Publishing Co. Ltd. 1969. Soft Cover. Fine. The book is in fine condition. Kakusado Publishing Co., Ltd. paperback
191151747England: n.p. 1911. Tall 8vo. 5 pp. on thick card stock printed in gilt & black 7 x 10.24 in. with 240 vegetable ivory buttons all with stock numbers below and to the side many in the dark brown patterned material some jet black and many with incised or woven patterns each page with padded pink silk leaves to protect the buttons each of the cards has some contemporary ink annotations below the buttons or along the side in the margins. Quarter-black calf over black pebbled cloth gilt lettering & design on front cover spine minor chipping & tearing to head of spine affecting lettering slight shelfwear still a VG- exemplar with the buttons entirely complete and in perfect condition. First edition of this very scarce and beautiful Edwardian button sample catalogue. Included are a number of different styles of buttons in vegetable ivory for clothing coats sportswear and more which were sold by this English manufacturer for export. Vegetable Ivory is a very dense material that is manufactured into buttons from the Corozo nut that grows on the Tague Tree a type of Palm. It was named Vegetable Ivory in the 19th Century because it resembles real ivory but was not as heavy or dense. These types of buttons were first introduced at the 1862 International Exhibition in England and then reached full popularity at the 1867 Paris Exposition. The sample buttons preserved here come in pressed carved and fine lined patterns some of them painted with a dark flat black other shiny black and many with a beautiful rich shiny mottled effect. During the Victorian and Edwardian periods and prior to the growth in production and popularity these were the buttons of choice for men’s suits. No copies located in Worldcat. n.p.], hardcover
195614629AB1956. Vienna 1956-1958. 47 : 32 cm. 64 pencil drawings of special paper. Womans dresses from the 1950-ties also designs for hats shoes etc. From a pupil of the prestigious Viennese fashion-school housed in the castle of Hetzendorf a suburb of Vienna which was founded in 1846 in an 1694 build castle and which is now famous worldwide. Gives a good inside of the designs and fashion the in the late 1950-ties. unknown
195618448AB1956. Vienna 1956-1958. 47 : 32 cm. 64 dibujos en lapiz en papel especial. Vestido de mujeres de los años 1950 tambien diseños para sombreros zapatos etc. Hechos por una alumna de la prestigiosa escuela de moda 'Hetzendorf' en las afueras de Viena la cual fue fundada en 1846 en un castillo que fue construida en 1694 y que ahora esta famoso en todo el mundo. Transmite una buena ojeada sobre la moda de los años 1950. unknown
1940D12397America c. 1940s. Group of approximately 30 costume and fashion designs for women; on a variety of papers or board ranging in size from about 8x10 to 15x21 inches; using chalk crayon watercolor ink and even a bit of collage. Includes dresses hats and gowns -- many possibly for Advance Patterns Fashions and Fabrics. Some dated all signed by the artist. Some a little worn along the edges but condition is VG or better overall suitable for display. <br/><br/>Much of Teed's original artwork is now in the collection of the Museum of Fine Arts in Boston. This diverse group shows glamorous fashion in a variety of illustrative styles from spare line drawings on black paper to gowns trimmed in paper doily to finished and highly detailed watercolors. unknown
193963709Aussig Usti Nad Labem Czechoslovakia & Vienna: C. Wolfrum ca. 1939. Folio. 50 leaves. 1 leaf with type-written explanation of all the fashions illustrated in the catalogue. 44 hand-coloured pochoir fashion designs on translucent paper each with item number printed below 5 leaves with printed designs showing the backs of all the fashions some pencil shading and details added. Original textured beige softcovers embossed WMI Wolfrum Manufacturing on front cover metal spiral bound as issued some dustsoiling & wear to fore-edges of covers very slight bumping to couple corners still a VG copy w/ beautifully illustrated fashion designs. First edition of this exceedingly scarce original trade catalogue issued by the C. Wolfrum textile firm in Czechoslovakia for its Vienna Austria market around the time of the forced annexation of the Sudetenland by Nazi Germany in 1939. The firm was famed for its woolen & silk textiles for women’s fashions and their catalogues were very desired. This catalogue includes fashions for silk rayon & wool women’s dress suits leisure suits formal evening dresses & winter coats all evoking the fashion trends of the period. The designs in the catalogue reflect the rising influence of militaristic styles and fascism with square-edged shoulder pads the plate hats as well as the emphasis on tight waists and long skirts. There are a couple designs with distinctive chocolate brown for leisure wear reflecting the heavy Nazi-influenced fashion design of the period. In addition the slim lines were enhanced by cutting clothes across the fabric avoiding bunches of gathers at the waist for full skirts allowing material to flow. In addition the evening wear dresses emphasized low or no backs and hair was to be grown long and worn swept up. This catalogue also includes a few evening formal dress designs clearly inspired by the dresses worn by Vivien Leigh in the 1939 Gone With the Wind Movie with the puffed sleeves polk-a-dot patterns and fabrics. No copies in Worldcat. C. Wolfrum, paperback
192757311Graz Austria: Richard Neurath Kaiserfeldgasse 19 und 21 1927. Two vols. 1st - Folio. 11 x 13.75 in. 45 1 pp. on thick boards. With 246 tipped-in fabric samples of wools wool blends 27 fashion plate illustrations 2 for women’s coats w/ price list and letter to salesmen dated August 1927. Original quarter-black cloth over embossed & decorated boards flaps at fore-edges w/ handle and clasp raised gilt lettering on front cover minor shelfwear rubbing clasp guard repaired & reinforced still VG complete exemplar retaining the original button clasp; together with 4to. 8.25 x 11.25 in. 4 pp unpaginated. w/ 16 additional wool and wool-blend samples tipped-in self-printed covers rounded corners. First edition of this unusually rare fashion salesman sample catalogue for men’s suits and sporting wear during the Roaring 20’s with many of the suits sporting vests while also featured are shooting & hiking suits sportswear and a rich array of fabrics drawing upon English fashion designs. Following World War I there was a concerted move away from starched collars and formal three-piece suits towards soft collars one- or two-button suit jackets and even often worn without a waistcoat. Also featured in this catalogue are many examples of the plus-fours developed out of ordinary knickers these short-legged pants were a baggier version of their predecessors and proved popular for hikers golfers and other outdoors activities. Also featured are winter coat fabrics and designs for women in velour and thick felt twill. The laid-in additional catalogue promoted the latest Loden Merino wool fabrics and thick camel hair woolens. Neurath 1882-1948 operated a successful mail-order tailoring business until the 1938 Anschluss when the Nazi’s annexed Austria and forced the April 10 plebiscite. He survived the War and later died in Tel Aviv Israel in 1948. The building which housed his offices and tailoring facilities in Graz is now the home of the popular Cafe Kaiserfeld. No copies in Worldcat. Richard Neurath, Kaiserfeldgasse 19 und 21, hardcover
193953215New York: Singer Sewing Machine Manufacturing Co. Departamento de Educacion January 1941; 1939. Two vols. 1st - Tall 8vo. 225 1 pp. Over 150 colour and black & white photo illustrations diagrams. Black textured softcovers gilt lettering & decoration printed on front cover edgewear bumping to corners minor soiling old tape repairs to front cover still G- copy; 2nd -- Oblong 4to. 12 x 7.75 in. 54 pp. on pink-tinted paper with 57 tipped-in fabric embroidered sewing samples including over on linen silk lace satin and wool textiles each w/ school stamp approving sample. Half-blue cloth post-binder over blue goards gilt lettering stamped on front cover sewn at gutter margin w/ white silk ribbon soiling minor dampstain curving to covers from the bulk of the tipped-in samples on the leaves still a VG exemplar. Both preserved in blue textured cardboard box & lid minor edgewear faint tidemark to lower fore-edge 1 corner. Fourth revised edition of this well-illustrated embroidery guide on stitches to be learned and executed on Singer Sewing Machines together with a beautifully done sample book showing Ms. Alos’ skills in learning the necessary skills in her Singer school in Villa Canas Argentina. The Singer Sewing Machine company developed special Singer Sewing Academia in Argentina Mexico and many other South American countries as well as Spain between the World Wars. These special private schools for professional dressmakers using the Singer manuals allowed female-owned dressmaking businesses to grow and create professional spaces separte from men. In addition these academias allowed women to pay by the class and embroidery was one of the advanced skills which commanded higher wages for women at the time. Singer actively encouraged this movement in order to develop home-based businesses and academias which in turn increased their sales of sewing machines. The sample book begins with a number of decorative types of embroidery stitches monograms and then displays floral patterns spider-web patterns laces a beautifully embroidered red roses and carnations on purple silks and satins. Worldcat locates 2 copies of the Libro Singer Bibliotecas del Tecnologico de Monterrey Mexico; British Library 3rd editions; See: Ketteler Sewing through the years in art women and society; Paula de la Cruz-Fernandez Atlantic Threads: Singer in Spain and Mexico 1860-1940 pp. 198-210. Singer Sewing Machine Manufacturing Co., Departamento de Educacion, paperback
21925From Brockwood Park Bramdean Hampshire and Ojai California. Between 1978 and 2008. A total of twenty-eight items of correspondence comprising: nineteen Autograph Letters Signed two on the backs of cards two Typed Letters Signed and seven Autograph Cards Signed. In good condition. All signed 'Mary' and the large part addressed to 'Christopher' with a few to 'Kit' and one to 'Dear Phyl i.e. Fry's wife Phyllis dear Christopher'. The correspondence indicates a deep affection and long-standing intimacy. In 1987 she transcribes entries from her diary of 1958 regarding dinners in Rome between the Frys and Zimbalists while Fry was working on the script of the film 'Ben Hur' which Sam Zimbalist produced commenting: 'it is startling to find how these pale ink lines evoke us then – almost 20 sic years ago'. Later in the letter she states: 'I wish I could have seen the tv broadcast of The Lady and hope you have a video recording of it. It is like wanting to again hear the English language rising and thundering like winter surf and pure as a Bach prelude. Since Christopher Fry this does not happen these days.' In 1997 she writes: 'So many things hovered in my head all night some of them reaching back to Italian summer days when you and Phyl and Sam and I were together. An unbroken line began then for me of feeling whenever I was with Phyl and you that all was well with the world. That has continued ever since – something wondrously enduring.' And in 2000 she tells him that hearing his news 'is a sort of centre of gravity'. Topics include: her pleasure in his messages and calls texts he has sent her 'What you have said about death and love touches so many things I feel profoundly and the eloquence is no less than the truth.' her admiration for his work 'Language is such a root of human understanding. Other writers seem to be stuttering alongside the eloquence of your plays. Your language unfolds in breadth in splendour a music of the mind. It is as if you are creating language of a different order new and yet with its original and intrinsic meaning freed.' her travels her health in 1988: 'I seem to be hobbling about with little grace but ground-covering success' the taking of vitamins a centenarian's death. In 1999 she comments on a list of 'Krishnamurti books' she is sending him concluding by noting that 'Krishnamurti's Notebook' is 'one that is not personal for a time a daily recording of consciousness. In it he notes the curious physical pain he called “the processâ€. It had begun with extreme severity in 1922 after a spiritual experience that altered his life and continued to manifest from time to time with differing intensity. He did not consider it as physical illness but as having to do with perceptive ability. He never took anything to mitigate or affect it and seldom spoke of it.' From Brockwood Park, Bramdean, Hampshire, and Ojai, California. Between 1978 and 2008. unknown
1996403084California 1996. Hardcover. Near Fine. A Collection of 100 used concert tickets featuring punk new wave and heavy metal bands performing in California from 1983 through 1996. The tickets vary in size from 3†x 2†to 5.25†x 2.5â€. All items are near fine with light soiling and a modest amount of creasing except for three torn tickets and 4 tickets stubs from use. The L.A. and Bay Area rock scene started in the late 1970s until new wave and heavy metal bands became the central focus of the 1980s. Some of the bands include: Mötley Crüe Iron Maiden Guns N’ Roses Depeche Mode Fatal Attraction Porno for Pyros Billy Idol Culture Club and others. The tickets span from Los Angeles to San Francisco and cities in between from 26 different venues some of which include The Troubadour Coconut Teaszer The Stone Trocadero Transfer The Metro Cow Palace The Palomino and Filthy McNasty Station. Many of the tickets are bright colors with printed pictures and stamped band logos showing the typographic designs of the time frame.<br /> <br /> Many bands kicked off their careers in California during this time. Mötley Crüe a popular heavy metal band formed in Los Angeles in 1981 is featured here playing at Oakland stadium on October 10 1987. The band is well known for their heavy make-up shocking clothing high-heeled boots and their abuse of drugs and alcohol. In 1985 the band transitioned to a more glam metal style influencing the heavy metal signature look. Guns N' Roses formed in 1985 in Los Angeles and is featured here playing at the Warfield Theatre on February 5 1988. They are a hard rock band that quickly gained popularity after the release of their debut album “Appetite for Destruction†which has sold over 28 million copies worldwide. The band has been labeled as the "the most dangerous band in the world" due to their rebelliousness and were credited to the rekindling of rock music during a time of dance music and glam metal. 1n 1992 Porno for Pyros formed in Los Angeles as an alternative rock group formed out of Jane’s Addiction. They are featured here playing at the Trocadero Transfer on June 19 1996. Their shows featured props extras and pyrotechnics. The band lasted through the mid-1990s and mixed the sounds of grunge and rock together.<br /> <br /> In the 1980s California became the melting pot of music genres mixing in punk rock new wave and metal. Certain venues became synonymous with the music genres and bands of that time. The Stone opened in the 1980s and was linked to the Keystone Berkeley and Keystone Palo Alto. It was large enough for a capacity of 700 sold only hard liquor at the bar and attracted an audience with bigger hair bigger shoes and makeup. It featured many local and big name artists in its day and was an important part of the Bay Area rock scene in the 1980s. The Coconut Teaszer operated from the 1980s through the mid-2000s. It hosted bands from all genres and featured a downstairs acoustic bar named “8121â€. Sawdust on the dance floor and giant goblets for draft beer were some of the popular trademarks of the venue. One of the notable and peculiar policies of the venue was “no open toe shoes†which was painted on the front door. The Troubadour which is still functioning today opened in 1957. New wave and punk was the main feature for The Troubadour in the late 1970s and early 1980s. Through the 1980’s the venue became synonymous with the heavy metal genre and glam bands during that time. Today The Troubadour is revered as one of Hollywood’s most respected places to see live music.<br /> <br /> <br /> An attractive collection of brightly colored concert tickets featuring popular heavy metal and punk bands from the 1980s through the mid-1990s displaying over a decade of music in California. hardcover