194 résultats
2019__3132429678Thieme/Houben-Weyl Series 2019. Hardcover. New. 484 pages. 10.00x6.75x10.00 inches. Thieme/Houben-Weyl Series hardcover
2020AME_9783132429673Thieme 2020. 1st. Hardcover. New/New. Thieme hardcover
2009Bio-Green-97818456934282009. Hardcover. New. hardcover
2009Bio-Green-97818456934282009. Hardcover. New. hardcover
19833iiiFc0024Brooklyn NY: Multi-Type 1983. Book. Like New. Trade Paperback. Previously Owned by Author!. 8vo or 8° Medium Octavo: 7¾" x 9¾" tall. 271 pp. Flawless copy save for some minimal shelf wear and crease on front cover. Previously owned by author with relevant address label on full title page. Ex - Libris book Council on Foreign Relations with a couple of small library stamps and one CFR library label. Multi-Type Paperback
2006x-075464359XAshgate Pub Co 2006. Hardcover. New. 292 pages. 9.50x6.50x1.00 inches. Ashgate Pub Co hardcover
2012x-1409444880Ashgate Pub Co 2012. Hardcover. New. new edition edition. 166 pages. 9.49x6.18x0.67 inches. Ashgate Pub Co hardcover
2019x-0367201984Routledge 2019. Hardcover. New. 232 pages. 9.50x6.25x0.75 inches. Routledge hardcover
2005x-041534798XRoutledge 2005. Hardcover. New. 1st edition. 197 pages. 9.50x6.50x0.75 inches. Routledge hardcover
2026x-1032670460Taylor & Francis Ltd 2026. Hardcover. New. 220 pages. 9.18x6.12x9.45 inches. Taylor & Francis Ltd hardcover
2009SONG1845693426Woodhead Publishing 2009-02-12. 1. hardcover. Used: Good. 6.45x1.64x9.40. Buy with confidence. Excellent Customer Service & Return policy. Woodhead Publishing hardcover
2009__1845693426Woodhead Publishing Ltd 2009. Hardcover. New. 1st edition. 512 pages. 9.30x6.30x1.40 inches. Woodhead Publishing Ltd hardcover
ria9781409444886_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; Taking a new approach by examining the impact of the transferability of law on end-users and by focussing on how appropriate norms are applied in specific situations the book documents how contractual disputes arise and are solved and hardcover
650458494Ashgate Publishing Company pp. 174 Index. Hardback. New. Ashgate Publishing Company hardcover
2005DADAX041534798XRoutledge 2005-04-28. 1. hardcover. New. 6.50x0.75x9.50. Buy with confidence. Excellent Customer Service & Return policy. Routledge hardcover
2009SKU-W12EA04511269Woodhead Publishing 2009. 1. Hardcover. Very Good. Very Good; Hardcover; Very light wear to the covers; Unblemished textblock edges; The endpapers and all text pages are bright and unmarked; The binding is excellent with a straight spine; This book will be stored and delivered in a sturdy cardboard box with foam padding; Medium Format 8.5 9.75 tall; Dark gray and orange covers with title in white lettering; 2009 Woodhead Publishing; 512 pages; "Functional and Speciality Beverage Technology Woodhead Publishing Series in Food Science Technology and Nutrition" by P Paquin. Woodhead Publishing hardcover
191484687Paris: Lucien Vogel éditeur 1914. Fine. Lucien Vogel éditeur Paris Janvier 1914 19 x 24.50 cm une feuille Original color print heightened with gold printed on laid paper signed at bottom right of the plate. Original engraving created for the illustration of La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists in the full bloom of Art Deco. Famous fashion magazine founded in 1912 by Lucien Vogel La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication these luxurious publications ""addressed bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""La Gazette du bon ton"" in Dictionnaire de la mode 2016. Printed on fine laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique heightened in colors and for some highlighted with gold or palladium. The adventure begins in 1912 when Lucien Vogel man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff sister of Jean father of Babar the Gazette du bon ton whose subtitle was then ""Art modes et frivolités"". Georges Charensol reports the words of the editor-in-chief: ""In 1910 he observes there existed no fashion journal truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists . I was certain of success because for fashion no country can rival France."" ""Un grand éditeur d'art. Lucien Vogel"" in Les Nouvelles littéraires n°133 May 1925. The magazine's success is immediate not only in France but also in the United States and South America. Originally Vogel thus brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly come 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 Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel calls upon them will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements. The plates highlight and sublimate the dresses of seven creators of the era: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless some of the illustrations feature no real model but only the idea that the illustrator has of the fashion of the day. La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic demands and plastic unity it brings together for the first time the great talents of the world of arts letters and fashion and imposes through this alchemy a completely new image of woman slender independent and audacious also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Rochas. Taken over in 1920 by Condé Montrose Nast La Gazette du bon ton will largely inspire the new composition and aesthetic choices of the ""small dying journal"" that Nast had bought a few years earlier: Vogue magazine. Lucien Vogel éditeur unknown
51825321like new. unknown
51825321-nnew. unknown
2016BN130343Glossika 2016. 2016. French Fluency 1. Complete Fluency Course <br/><br/>French Fluency 1. Complete Fluency Course Campbell Michael / Paquin Maxime Glossika unknown
191389500Paris 1913. Fine. Paris Octobre 1913 19 x 24.50 cm une feuille Original colour print heightened in palladium printed on laid paper and signed at the bottom right outside the plate. Original engraving produced for the illustration of La Gazette du Bon Ton one of the most beautiful and influential fashion journals of the 20th century celebrating the talent of French designers and artists at the height of the Art Deco era. 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 2000 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. unknown
51-4685Paris : Aux Bureaux des Modes Parisiennes circa 1850. Hand titled wraps and 15 numbered handcolored plates. Label of A. Wagner Librairie Artistique ParisCOMPTE-CALIX François Claudius. Costumes du Directoire. Paris Moine et Falconer vers 1860. In-4 broché Paris : [Aux Bureaux des Modes Parisiennes, circa 1850] paperback
2009SKU-W12HA01111269Woodhead Publishing 2009. 1. Hardcover. Very Good. Very Good; Hardcover; Light wear to the covers; Unblemished textblock edges; The endpapers and all text pages are clean and unmarked; The binding is excellent with a straight spine; This book will be stored and delivered in a sturdy cardboard box with foam padding; Medium Format 8.5 9.75 tall; Dark gray and orange covers with title in white lettering; 2009 Woodhead Publishing; 512 pages; "Functional and Speciality Beverage Technology Woodhead Publishing Series in Food Science Technology and Nutrition" by P Paquin. Woodhead Publishing hardcover
