740 résultats
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
198662982New York & Troy NY: Arrow Company Cluett-Peabody Co. 1986. Four oblong folio colour-printed advertising displays sized 16.5 x 11.25 in. colour-printed on thick card stock all four retaining their original fold back easels on versos slight edgewear very slight bowing still a NF set. First editions of these original counter displays marking Arrow’s attempts to revive their Arrow Man shirts with “Fancies†-- coloured shirts and intended to bring back the label in much the same way that Leyendecker’s striking illustrations had helped the company dominate the market through the first part of the 20th Century. Neiman in the 1980’s was not only well-known for his monthly illustrated sporting and lifestyle column in Playboy Magazine but also noted painter of the Indianapolis 500 races Official Painter of five Olympics boxing matches -- with Muhammad Ali a particular favorite as well as capturing basketball boxing hockey gymnastics swimming billiards and more. The Brigade Collection is here depicted by Neiman with an illustration of a boxer heading to the ring at Madison Square Garden; the stylish Dover Collection is depicted with stylish couple in Lutece’s bar in New York City; the finest level Bradstreet Collection which featured white collar and French cuffs is shown here with Arrow man at a horse race walking with his jockey and finally a couple shooting pool represents the cheapest line or “opening price point†Trump collection which was one of the oldest lines dating back to the early 20th Century and after Leyendecker featured illustrations by Frederic Stanley. No copies in Worldcat; See: Philip Dougherty Advertising: Arrow Man is Painted by Neiman New York Times Jan. 6 1986; Carl Johnson Cluett Peabody & Co. Hoxsie! The History of Albany Schenectady and Troy Feb. 7 2012. Arrow Company, [Cluett-Peabody Co.], unknown
191050389Baltimore MD: Federal Tailoring Co. Baltimore & Carey Streets ca. 1910. Tall 8vo. 6 x 11 in. 30 pp unpaginated on thick cream-coloured stock w/ 47 tipped-in worsted serge wool blend and felt samples all w/ printed black borders & stock numbers. Black embossed cloth gilt lettering on front cover lettering in blind on back cover blind-stamped ruling bound in accordion-style flexible binding w/ each leaf mounted on hinge occasional minor loss and slight insect predation to a few samples still a VG bright copy. First edition of this scarce Edwardian salesman sample catalogue for men’s suits trousers and wool winter jackets. Federal Tailoring Co. was a consortium of several Jewish-American tailoring wholesalers located across from the Drovers & Mechanics National Bank in Baltimore. The woolen samples contained within this catalogue were patterns intended for suits suits & trousers and winter coats of the Baltimore working class at the beginning of the 20th century with heavier weaves courser wool blends and more neutral colour palate focusing on dark blues tans browns some grays. No copies located in Worldcat. Federal Tailoring Co., Baltimore & Carey Streets, hardcover
195054848Cincinnati OH: The Melville Company ca. 1950. 4to. 39 8.5 x 11 in. fashion plates with 97 tipped-in fabric samples including cotton cotton blends cotton-rayon blends satin nylon for men & women’s fashions dresses lingerie pants suits skirts. order blank booklet preserved in original cardboard portfolio w/ company design logo on rear flap an excellent collection. First edition of this scarce and unusually complete salesman sample sales kit for women’s dresses fashions coats lingerie as well as men’s overcoats underwear & socks and even women’s outerwear rubber pocket books and overcoats in post-World War II America. The Melville Company was a coordinated direct-sales fashion company supplied by Harford Frocks Inc. which maintained a large mail order tailoring operation in Ohio from the early 1920s up through the 1970s employing 100s of tailors and seamstresses to fill orders together with J.C. Field & Son Inc. direct marketing firm. The company focused on “plus sizes†while maintaining how these fashions emphasized trim appearances survived on a constant sales force composed primarily of young women and house wives earning extra money willing to peddle door-to-door and created a high-quality product. The catalogue offers invaluable illustrated historical reference for the colours styles and fabrics during the explosion and impact of Christian Dior’s new designs reflecting the refined femininity with severely cinched waists extra padding to the hips longer and decidedly more romantic skirts and dresses as well as nicely fitted jacket-and-skirt tailored suits. Israel 1901-1991 built and ran this very successful mail order dressmaking operation which also owned the Fashion Frocks Dress Company as well and operated out of the Oesterlein Machine Company historic building in Cincinnati OH now home to the American Sign Museum. The Melville Company, unknown
191662798New York: The Leading Pattern Co. 1916. Two parts in one vol. Small folio. 9.75 x 12.5 in. 2 28; 251-341 1 pp. Engraved & illustrated title vignettes text illustrations diagrams photos throughout including engraved signed certificate of completion. Original pebbled green cloth “Spring Binder†w/ gilt stamping & ruling on spine labels on endpapers minor tear to spine scuffing still VG copy from the library of Rose M. Cervini Savarese 1891-1965 w/ certificate signed by Rosenfeld. First edition of this exceedingly scarce and well-illustrated installment in Rosenfeld’s self-instruction dressmaking course available in 14 parts in 3 vols. where students could choose their particular course installment. This well-organized volume details the grading special garment cutting sketching tailoring dressmaking and fitting for dressmakers at the end of the Progressive Era. Rosenfeld b. 1883 was an Austro-Hungarian-American Jewish tailor and dress designer who before World War I had established not only his education courses but also oversaw his own design house and dressmaking operation in Brooklyn New York. The Leading Pattern Co. allowed him to not only train his current employees but recruit further. Worldcat locates 6 copies -- most incomplete or just mircofiche as well as incorrect dates for Rosenfeld FIT NY 10 vols St. Louis Pub. incomplete U of Chicago 13 vols. Northern Illinois LACMA DLC Thomas Jefferson Univ. The Leading Pattern Co., hardcover
191056014New York & Tacoma: Samuel W. Peck & Co.; Dege & Milner 1910. 8vo. 12 pp unpaginated. Colour-illustrated title 7 colour plates text printed in red & blue w/ decorations. Gray pictorial softcovers cover art image of Atlas holding a globe in blue & gilt embossed gilt lettering & decoration fine copy. First edition of this wonderfully illustrated fashion catalogue targeting the young college man in the decade before World War I. This inventive catalogue positions models wearing Sampeck suits in front of the ancient Wonders of the World including the Pharos Lighthouse of Alexandria Pyramids of Egypt Colossus of Rhodes and more. Sampeck clothes were targeted to the virile aggressive young college man competeing with the Hart Schaffner & Marx Varsity line. This copy was printed for the Dege & Milner department store in downtown Tacoma which was operated from 1901-1915 by James H. Dege and his partner William Milner before Dege opened the James H. Dege Co. store. No copies located in Worldcat; See: Daniel Clark Creating the College Man: American Mass Magazines and Middle-Class Manhood pp. 169-170. Samuel W. Peck & Co.; Dege & Milner, paperback
195352352Boston: Houghton Mifflin Co. 1953. 8vo. 86 2 pp. Illustrated half-title illustrated title page numerous text illustrations & plates 3 colour plates colour-illustrated endpapers. Blue-green coloured cloth illust. of doll in yellow holding parasol on front cover yellow lettering on spine very minor shelfwear minor rubbing & very slight bumping to lower corners w/ d.j. cover art of fashion doll by Bannon minor chipping head & foot of spine wear to corners minor rubbing upper corner clipped $ 2.25 price written in lower corner in pencil VG/VG copy. First edition of this remarkably rare and beloved children’s book surrounding the mystery and treasurer hunt for a 19th-century fashion doll in Peterborough NH by a young girl hidden by her ancestor in a secret room. Fashion dolls also called Queen Anne Dolls were often made of wood plaster or bisque with a fashionable hairstyle in flax or wool and dressed in miniature clothes showcasing the latest couture of the day. The most desirable dolls in the 19th-century were the French bisque dolls distributed all over Europe and were originally modeled on teen girls or adult women although these eventually changed over into child like bisque doll babies which would dominate the market from the 1860s onward. Bannon 1895-1963 was inspired to write this work while staying at the famed MacDowell Art Colony in Peterborough NH which carried a legend of a secret room in the MacDowell farmhouse. Original copies of this work have become quite scarce especially first editions. Houghton Mifflin Co., hardcover
188746439London: Edward Harrison January 1887. Elephant folio. 17.25 x 25.25 ins. Hand-coloured engraving architectural details in the backgrounds originally folded into four sheets some chipping & edgewear to plate creases some minor repairs to verso small tears to lower fore-edge affecting a few letters a G- copy w/ the colour and images still very bright and crisp. First edition of this very scarce and beautiful fashion Supplement leaf which was laid-in with this Victorian monthly which was comprised of articles on fashion embroidery sewing craft work family reading sheet music and more. The fashions in the top row include day wear and more casual clothing for the well-dressed Victorian girl as well as winter jackets muffs and hats. The second row is devoted to evening gowns and formal wear reflecting the revived return to the bustle the fashionable tight corset which was intended to create a long torso and force an S-shape as well as high collars and chokers reflecting the influence of Alexandra Princess of Wales who hid a scar with these methods. The bottom row encompasses dress coats and evening coats which were long have elaborate hats fur trims and yards of rich fabrics. Each monthly issue would include descriptions of the illustrations and prices for cut-out fashion patterns which could be purchased from the Young Ladies’ Journal. Typically since these were published on fragile paper and often thrown away they have become quite scarce. Edward Harrison], hardcover
199556987San Francisco CA: Levi Strauss & Co. Publishing 1995. Folio. 313 5 pp. With 100s of illustrations colour plates colour photos large folding plates & pages illustrated endpapers. Quarter-black cloth over illustrated boards cover art of Levi’s brand jean label slight shelfwear rubbing w/ mylar dustjacket minor bumping to foot of spine edgewear still NF/VG- copy inscribed by Downey & McDonough in Sharpie marker on ffep. to Gina “Always sweet always the best-dressed!†First edition signed presentation copy of this lavish pop-culture artist’s book celebrating the advertising and Levi’s jeans worn by miners labor union members field workers protesters and many others for over 150 years. Even includes a photograph of the complete first womenswear outfit produced by Levi Strauss of hiking knickerbockers for that visit to Yosemite. Levi Strauss & Co., Publishing, hardcover
196861495Portland OR: Jantzen Knitting Mills 1968. One giant colour lithograph advertising poster sized 40.5 x 46.5 in. on thick paper stock minor creasing edgewear agewear and couple closed tears w/ repairs still a bright copy now mounted on archival foam core and shrunk-wrapped from the library of Keith Albert Zilk 1927-2020 Korean War Vet Company D 40th Infantry and photographer with Condit Photo Studio and later with Jantzen Swimwear. First edition of this exceedingly scarce promotional swimwear poster for Jantzen produced under the direction of Roger Yost former Jantzen Art Director & Advertising & Marketing Manager designer Byron Ferris and copywriter Homer Groening 1919-1996 for the 1968 season the year after Jantzen had become the NFL’s first apparel licensee. Replacing the iconic “Just wear a smile and a Jantzen†with “Jantzen Speaks Your Language†this poster also sports the revised Jantzen Logo created by Thomas Lincoln who created a sort of condensed Bodoni which did not previously exist and worked with John Pistilli a New York type designer to create the entire alphabet. The swimwear advertising campaign featured such athletes as Frank Gifford Jerry West and Paul Hornung wearing wearing the striped trunks and were also used in 30-minute television biopics created by Portland filmmaker Homer Groening for 120 TV stations. We could find no similar surviving example; See: Trudy Chin Jantzen Collaboration Between Design & Advertising in the Jantzen Bullpen Portland Design History 2020; Ash Horn Homer Groening The Vanguard Cartoonist Filmmaker and Ad Man Who Did it All Portland Design History 2020. Jantzen Knitting Mills, unknown
193953220South Conventry CT & New York: The Tioga Yarn Company 1939. Folio. 86 2 pp. With over 60 photo plates all w/ facing knitting instructions. Colour-illustrated softcovers Tioga trademark cover art of women knitting in red & black minor dustsoiling edgewear minor creasing to lower right corner still VG- copy. First edition of this scarce yarn catalogue and instruction book including directions on specific yarn needs as well as necessary stitches for the sweaters and other projects featuring fashion designs by Perrin based on the Hollywood glamour of the 1930s. These fashions reflect the accentuated high waist designs intended for slim hips longer mid-calf or floor length hemline and wiode soldiers. However since most women were not blessed with slim hips and narrow waists shoulders were exaggerated ruffled sleeves and long flowing capes. Worldcat locates 2 copies Univ. of Illinois NYPL. The Tioga Yarn Company, paperback
199458623Milan et al: Valentino Atelier by Carnet Elegance Exclusive Distributor for North America 1994. Thick 4to. 12.75 x 12.25 in. 106 pp assorted pagination. With 51 colour fashion designs 136 tipped-in cotton silk wool acrylic and blend fabric sample swatches several printed fabric samples. Black silk cloth gilt lettering stamped on front cover numbered on colophon at rear very minor rubbing edgewear still VG bright copy. First edition No. 970 of this sumptuously illustrated sample fashion catalogue from one of the greatest Italian Couturiers Valentino Clemente Ludovico Garavani the incomparable fashion designer. This collection was representative of many of Valentino’s collections of the 1990’s integrating themes of revival and self-reference-flounces embroidery and dots partly as a way of highlighting his 30 years of fashion designs. In addition these designs and their fabrics reflect a foreshadowing of the later mid-1990’s shift towards a more bohemian style drawing upon 1970’s fashions mixing fabrics embroidery and Eastern influences in their designs. No copies located in Worldcat; See: Pelle & Mauries Valentino. Thirty years of magic 1990; Pelle Valentino’s Magic 1998. Valentino Atelier by Carnet, Elegance, Exclusive Distributor for North America, 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
151960351Greenwich CT & New York: Conde Nast Publications Inc. Sept. 15 1932. Folio. 96 pp. With 100’s of text illustrations photo illustrations mostly in black & white some colour illustrations photos & plates. Colour-illustrated softcovers cover art by Benito 1891-1981 on metallic silver background Art Deco lettering design Camel cigarette ad on back cover chipping head & foot of spine minor creasing edgewear still VG copy. First edition thus of this installment in the noted fashion magazine’s results of the Paris Autumn fashion lines featuring designs by Schiaparelli Patou Lelong Forstmann’s Elga and others. Benito who was a native of Valladolid Spain later became one of the most iconic Art Deco artists of the Jazz Age creating covers for Vogue and Vanity Fair and heavily influenced by Picasso Modigliani and others. Conde Nast Publications, Inc., paperback
195516984n.p. Los Angeles areaa: 1955-57 Stored in a contemporary accordion-fold card paper portfolio hand-labeled "Sketches of Accepted Designs.". 137 sheets of hand-drawn sketches sixty-two on 9" x 11 " sheets 75 on 5 " x 8 " sheets. Most with handwritten design descriptions notes and accompanying fabric swatches pinned or taped onto the sheets. Also with price lists inventories and printed ads for the Candy Jr. brand ads correspond with designs made by Saunders that are included in the present set. Portfolio somewhat worn and creased. Enclosed are eight contemporary manila folders organized by season Holiday 1955 Fall 1956 Spring 1957 etc. all hand-labeled in pencil. Some designs signed "V. Saunders" or "Vivian Saunders." Some toning and creasing to leaves. A few fabric swatches detached from leaves. Overall a very good set of striking original sketches of 1950s-era fashion designs for young women. Most of the sketches are for party dresses and evening gowns made for young women in their early teens to early twenties juniors and misses. The designs include many iconic designs associated with the 1950s including "poodle" skirts with ample petticoats boleros and cardigans and sheath dresses with cinched waists. The 26 swatches indicate a wide range of textures colors and patterns like gingham plaid organza metallics appliques ribbon velvet fur and much more." unknown
194261064Brooklyn NY: Barbara Duffy ca. 1942-1945. Seven pieces of original pen & ink art and gouache colouring and overpainting sized from 10 x 15 in. 3 up to 15 x 20 in. 3 on “Winsor & Newton’s Illustration Board 30 x 40†while the 7th piece is 9 x 17 in. executed on textured thick laid-paper pencil annotations in MS on fore-edges all pieces signed in thick black pen on versos some dustsoiling staining to fore-edges to a couple bumping to corners edgewear still a VG set of well-done exemplars. These original fashion design illustrations encompass women’s dresses hats fur coats evening wear and a post-War design by Mangone. The two dresses drawn by Duffy are reminiscent of the Claire McCardell easy to wear and comfortable dresses which emerged at the end of the War and featured a cinched-in waist floppy collars and padded shoulders retaining the influence of men’s tailoring on women’s fashions during the War. The “Toppers†are splendid examples of box or swagger coats often made in light wool cotton or rayon blends and in this case with fetching hats and cinched-in waists. The two smaller designs with mink or beaver coats include one with a matching purse and the other with a pillbox hat. The two “Paris†style Cloche hats are nicely drawn and one is fitted with a mesh veil. The exceptional Mangone design indicates it was “Sketched at Mangone’s†which was probably one of the frequent sessions the designer would put on fashion shows at the Fashion Institute or local boutiques in and around New York following World War II and features a coat trimmed in beaver fur with Cloche hat and according to Duffy was available in light and dark wool along with an ascot. Mangone 1884-1957 was not only a significant Italian-American designer who quickly adapted Paris fashion trends into his own American style and was very popular from before World War I until after World War II. Strikingly he also was a survivor of the Hindenburg disaster who managed to leap from the Zeppelin at Lakehurst NJ with his daughter and grand-daughter looking on suffering significant burns and after shock and hospitalization spent considerable time recovering. Duffy b. 1919 taught at the Jacob Gould Vocational School for girls in Prospect Park Brooklyn NY from the time she left college until after World War II after which she worked as designer in local department stores and then disappears from census and public records. Barbara Duffy, unknown
193436852New York: The Cotton-Textile Institute Inc. 1934. 1934. Very good. - Folio 11-1/4 inches high by 8-1/2 inches wide. Softcovers bound in light green wrappers printed in darker green and bound with bronze clasps along the top. The edges of the covers are chipped. 12 pages including an introductory text page titled "Swatching Service Issue Number 9 Spring and Summer 1934" and 74 swatches of cotton fabric mounted on 11 pages with descriptive text below each swatch. Very good. <p>The swatches include "Plaids and Stripes" "Piques in Plain and Printed Versions" "Seersuckers" "All White.And All Corded. Bound for Success!""Active Sports Cottons". "Coatings that Will be Admired" "New Prints" etc. New York: The Cotton-Textile Institute, Inc., 1934. paperback
195561063Los Angeles CA: K. Jo ca. 1955. Folio. 14 x 18 in. Original pen & ink w/ gouache colouring on studio board initials of artist at lower right corner edgewear & chipping to corners fore-edges still a VG- exemplar. This delightful artwork mock-up for a Vogue fashion advertising counter display featuring a stylish black chenille silk yarn cocktail dress with the model sporting a short haircut hoop earrings and white evening gloves. The same model is shown wearing a beret and chenille wool/rayon fabric evening coat double-breasted pinch waist and gloves. K. Jo the unidentified artist has left the banner blank which would have included in the printed version the day & time of either the fashion display or of the possible patterns. This cataloguer could find no information on the original artist and two possible references to cover art designs for Vogue in 1951 and 1953. K. Jo, unknown
196056965Pasadena CA: n.p. ca. 1960. Folio. 14.5 x 20 in. Twelve original gouache paintings on thick artist’s board 10 of them either w/ typed or manuscript labels 1 entitled “Garden Party†written in manuscript at upper fore-edge 8 preserving their cloth fabric swatch samples some w/ designer’s notes trimmings etc. All are preserved in a gray linen clamshell case minor edgewear rubbing wear to corners still a well-preserved fine set of paintings. This nicely executed set of fashion designs were apparently created for a Civil War theatre production in Southern California around 1960 with characters named Florence Bagshot Mrs. Ludley Bagshot Agatha Mrs. W.D.P.S. and Mrs. Forbes. The designs primarily focused on the women characters including one of a nurse standing in costume in gray striped dress apron and cap with Confederate cavalry trooper in kepi astride his horse and hatless officer with sash standing in the background. Many of the designs reflect the colour palate of the early 1960’s with avocado green vivid blues solid brown earth tones and bright nearly neon orange gauze fabrics in the renderings and samples which would not have been common in those combinations during the Civil War era. Still most of the dress designs incorporate the hoop skirts of the period often with crinoline and/or crinoline cage hoop skirts and high collars with ties and ribbons at the neck and trim patterns typical of the period. The design for Florence Bagshot’s bedroom wear incorporates elements of Mid 20th-Century design and sensibilities rather than the more common chemise and sturdy cotton for the 1860’s. The Confederate Nurse design was painted on “Brownie Board Cold Pressed Duncan Vail Co. Los Angeles†which appears in California art supply advertising from about 1960-1963. We were unable to identify the production after an extensive search through contemporary theatre production trade magazines newspapers and other industry publications. n.p., hardcover
18352200376<p><i>Including a double-sided hand coloured lithograph mannequin 14.5cm high; together with 5 outdoor slipover costumes and matching hats and one indoor costume; a stand 9.5 x 13.5 cm in the form of a carpet with a hand coloured lithograph design on a red ground; </i><i>contained in the original decorated box 14 x 10 x 2.5 cm the lid with a scene of a dressmakers salon with five ladies and the milliners showing her wares; enclosed within a decorative shaped and gilt embossed paper border; The underside of the box with the label of 'Delaville Sucr. de Terzuolo-Despilly. Papetier du Roi. Rue de la Chaussée d'Antin No. 15.'</i></p><p>An early dressing game based on contemporary costumes and a visit to the milliners shop.</p><p>The quality of this paper doll indicates it was made for the most expensive end of the market confirmed by the label of Delaville who from 1822 had been 'Papetier du Roi'. Delanville had been active from 1804 and got his royal warrant in 1822 he traded from the address Rue de la Chaussée d'Antin during the late 1820s through to at least 1833 but no longer appears in the Parisian <i>l'Almanach du Commerce</i> of 1837.</p><p>The lid shows the scene of a well appointed milliners shop with six women conversing or examining merchandise the two central figures show a seated lady being shown a pink dress by her milliner. The mannequin is of a young lady in her under garments including laced bodice over a light cotton petticoat and wearing a neckless of emeralds rubies and gold.</p><p>All clothing items show the front and back of the young woman including: 1 a silk dress with large puffed out sleeves and embroidered with flowers and shaped tongue ornaments; 2 a green gingham check dress and embroidered shirt with puffed sleeves and a ruff neck holding a parasol; 3 an ochre dress with green open-work lace and fringe banded collar waist and dress band; 4 a white evening dress with grape and vine decorated collar and matching dress with flowers wheat sheaves and roses a green belt with a key on a ribbon and holding a fan in her gloved hand; 5 A light overall decorated dress with leafy fronds and shell decoration wearing tow bracelets and clasping a book; 6 a turquoise evening dress with a white boa around the shoulders and long white gloves. The five interchangeable hats decorated with feathers ribbons and flowers.</p> Delanville
D21035Near Fine. A unique and visually interesting archive of 125 original womens fashion illustrations produced by several celebrated New York designers and illustrators active during the mid-twentieth century. Together the works capture an innovative and forward thinking American fashion industry post WWII. <br /> <br />The collection is highlighted by original couture evening wear and cocktail dress designs by John Paul Bozett and Frank Perullo both internationally accomplished New York fashion designers and illustrators working in New York City during the 1940s1960s. Additional contributors include De Zine Studio Henry Antonio and others illegible but presumably associated with the citys fashion community during this period. Ephemera includes a Womens Wear Daily typed letter signed TLS a press release and a TLS employment contract for David Hart Incorporated New York. <br /> <br />Rendered in graphite and colored pencil many sophisticated and detailed. Several sheets present multiple perspectives of a single design and retain original job numbers e.g. B-14 annotations regarding color styling and techniques and a few with fabric attached. Approx. 50 with ink signatures on the recto and some with studio stamps name address and telephone on the verso. Sizes vary but approximately 8 x 11 inches. Executed primarily on tissue paper with some examples taped or mounted to heavier stock. Undated but presumably date to the c. 1950s; a few might be a bit later. <br/><br/> unknown
183362953Leipzig Industrie-Comptoir / Baumgärtner etc. 1833-1856. Small queer-folio 22 x 285 cm. Nice later light brown half calf from ca. 1900 with five raised bands and gilt lines to spine Carl Petersens Enke. Slight wear to extremities. 100 engraved plates in contemporary colouring. A bit of even browning and occasional offsetting. A few plates with more browning. Some plates with tiny holes in blank margin from original stiching having been vertically bound with text-leaves. Occasional light creasing. One plate with a tear no loss. A few plates signed A. Brückner most plates numbered and dated and some plates having "Extra-Kupfer" or "Les Modes Parisiennes Réunis" the last five underneath. <br/><br/><em>A lovely collection of 100 beautiful contemporarily coloured engraved fashion-plates from between 1833 and 1856 importing the highest Parisian fashion of the time to Germany. This beautiful collection magnificently documents the clothing fashion and development of two decades primarily for women but also for children and men. Also in the mid-19th-century Paris was seen as the quintessence of elegance and style. The Allgemeine Moden-Zeitung kept the German-speaking public up to date with the latest fashions from Paris. The magazine “Les modes parisiennes reunites†did the same; that too was produced for the German public despite its French title. As well as outfits for appearing in high society eg. at the theatre the fashion plates collected here show clothes and notably also accessories for almost all other parts of life - paying and receiving social calls going for walks attending different events musical siorées going out with the children etc. “As part of her evening wardrobe every fashionable lady simply had to have elegant dresses in brightly coloured silks and satins with frills and lace bows and flounces tight bodices natural waistlines and exposed shoulders which gave the female figure an hour-glass silhouette. The first thing that strikes one about these ladies’ fashions are the stiff voluminous underskirts. Horsehair crinolines invented in 1850 supported wide sweeping skirts which could measure up to two or two-and-a-half metres in diameter and made the upper body look even slimmer.†Deutsches Historisches Museum. "From the 1820s onwards and particularly under the ostentatious Second Empire 1852–1870 the classicising taste of the Napoleonic era changed completely. Instead fashion now drew inspiration from the elegance of the Rococo period so much so that the period became known as the “second Rococoâ€. The waistline returned to its natural level but was awkwardly styled – at least from a health point of view: agonisingly tight corsets emphasised the so-called “wasp waistâ€. Ostensibly guided by aesthetics on closer inspection this fashion trend also had social consequences: with styles that afforded women so little freedom of movement fashion focused on the ostentatious requirements of ladies from the upper echelons of society who didn’t have to work. Practicality was not its concern. This ostentatious and – certainly from the perspective of the 21st century – inconvenient fashion style appealed not only to the fine ladies of high society but also to women from the middle classes and the petty bourgeoisie. The expansion of the textile industry and the rise of the chemical industry made the production of dyes fabrics lace and embroidery and the processing of raw materials and textiles imported from the colonies both quicker and cheaper.†DHM </em> hardcover
189023483Paris: Eberle 1890. Very good condition. Double spread women's fashion lithograph with early hand color showing an array of seven fashionable gowns. The lithograph depicts a row of ladies at a public event each with her gown and elegant hat depicted in great detail including one showing the intricate ties on the back of the gown. Chic Parisien a competitor to the "Gazette du Bon Ton" was a monthly fashion magazine when dressing well really meant something. 24 1/4 x 16 1/2" Eberle unknown
193059525Hannover: Schneidermister ca. 1930-1933. Oblong elephant folio. 23.5 x 14.5 in. 25 leaves unnumbered. Original women’s fashion patterns in pencil throughout many with tipped-in pattern cutouts mounted on the sheets as well as colour images of the finished design tipped-in and mounted manuscript pencil notes & directions in some colour pencil additions to a a few patterns. Stiff limp beige covers black cloth spine title mounted on front cover scutting edgewear repair to corners of front cover corner still a remarkable manuscript w/ tipped-in instructions for taking measurements and fashion by the Nazi Party on first leaf including one entitled “Ein Modewart macht Propaganda.†This German fashion pattern tailoring and pattern manuscript provides an exceptional original artifact of the period when the Nazi Party began to force educational and cultural changes upon German Society against the tailoring and fashion industry in Germany during the early 1930’s. By 1930 Berlin had emerged as an international fashion capital drawing Parisian fashion designers and most of the tailoring schools and fashion houses were operated by generations of Jewish family owners. Tailors and fashion designers were constantly reminded that they must create a wholly Aryan fashion and that they were to avoid French or other outside influences. Despite the pressure most women tailors and fashion designers in the tailoring or cutting schools continued to still draw their influences from Parisian and American couturiers by creating their own patterns and pattern books from which these internationally themed clothing designs could be made. This fashion pattern book by Bode focuses on women’s suits skirts capes coats and knickerbockers. However the Party never succeeded in creating a unique Fashion industry especially because of the drive to dress women in peasant costumes or uniforms even as the Nazi Party would confiscate the assets of over 2700 Jewish fashion houses retailers and manufacturers with 1000’s of tailors and seamstresses forced into labor and concentration camps to produce clothes for military and high society. See: Uwe Westphal Fashion Metropolis Berlin 1836-1939: The Story of the Rise and Destruction of the Jewish Fashion Industry 2019. Schneidermister, hardcover
192462500Tacoma WA: A.V. Love Dry Goods Co. 2102-2106 Pacific Ave. 1924. 4to. 4 286 i.e. 338 10 pp. Including 52 pp. of colour lithograph sample pages many w/raised colour-embossed plates of bolts of cloth or fabric samples ribbon samples colour swatches 100’s of text illustrations photo illustrations. Brown-cloth backed colour-illustrated flexible covers cover art of 1920’s bobbed-hair woman measuring bolts of cloth Love Co. advertisement on back cover minor chipping & creasing to corners edgewear minor scuffing couple minor closed tears still VG- copy. First edition of this very scarce and lavishly illustrated wholesaler’s dry-goods catalogue issued by A.V. Love Dry Goods Co. during the Roaring 20’s. As a wholesale catalogue goods and counter displays are depicted and priced such as those for cuff buttons combs hair pins perfumes pipes sewing goods textiles and yarns. Of particular interest are the beautifully colour-printed & embossed inserted sample pages for trimmings silks silk threads yarns underwear towels blankets and more. Sections specifically devoted to work clothes including overalls work gloves boots logger’s plaid work shirts wool flannels and even bathing suits are also featured. Love Sr. 1868-1942 a Virginia grocer first moved to Washington State before 1900 and by 1902 had established his own firm in Tacoma for the A.V. Love Dry Goods Co. eventually with sample showrooms in Seattle Portland Bellingham Bremerton Everett Yakima Walla Walla Aberdeen Eugene Lewiston Wenatchee and Juneau & Fairbanks Alaska Territory. The company erected the Love Dry Goods and Loft Building in 1925 built by Heath Gove and Bell located in the Denny Triangle neighborhood and was an excellent example of Seattle’s early Art Deco Architecture. The company moved their base of operations to Seattle from Tacoma on Pacific Ave. after completion. No copies in Worldcat; See: A.V. Love Dry Goods and Loft Building Photograph Collection Boyle Wagoner Architects Univ. of Washington Lib. Spec. Collects. PH0639. A.V. Love Dry Goods Co., 2102-2106 Pacific Ave., hardcover