Paquin, EthelBiblio.com
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2000mon0004112252Scarecrow Press 2/7/2011 12:00:01 AM. hardcover. Very Good. 1.0000 9.0000 5.8000. Scarecrow Press hardcover
191123207Paris Lecoq-Mathorel-Bernard 1911 1 Paris, Lecoq, Mathorel, Bernard, 1911, in-8, broché, couverture illustrée d'une scène enfantine en couleurs, 24 pages.
19082835Paris SCHNEIDER 1908 1 Paris, Schneider, 1908, in-12, broché, couverture estampée à froid illustrée d'une reproduction en couleurs, reproductions d'illustrations en noir et en couleurs de MILLIERE, 4 pages.
192331681Montréal Pierre R. Bisaillon 1923
1985RO90115460COLLECTION HARLEQUIN SERIE TENTATION N° 35. 1985. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 156 pages.. . . . Classification Dewey : 820-Littératures anglaise et anglo-saxonne
1988RO20122290AGENCE D'AR INC. 1988. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 199 pages.. . . . Classification Dewey : 840.091-XX ème siècle
193482399Couverture souple. Broché. 192 pages. Couverture défraîchie. Mouillure en marge.
1984RO30315526Le Pré aux Clercs. 1984. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 157 pages.. . . . Classification Dewey : 840.091-XX ème siècle
198420553Marcel Broquet Petit in-4 carré Jaquette en très bon état Couverture rigide toile Laprairie/Québec 1984
197932400Montréal Marcel Broquet 1979 In-4 bien illustré noir et couleurs, 103p. Jaquette illustrée couleurs.
197422751[Ste-Thérèse] Jean-Pierre Paquin, éditeur 1974 In-16, 109p. Couverture illustrée.
191289473Paris 1912. Fine. Paris 1912-1913 19 x 24.50 cm une feuille Original colour print printed on laid paper and signed in the plate lower right. 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
191289473Paris 1912-1913 | 19 x 24.50 cm | une feuille
1977CAN0122Quebec: Stanke. Good. 1977. First Edition. Card Covers. 088566051X . Outside folder edges worn small surface tears along hinge edges. Some foxing to inside of folder. Newspaper reproductions near fine. Single text sheet. 24 folded loose in pocket enlarged reproductions of French language newspapers with headlines dealing with Quebec's march to liberation. The text sheet in French is written by Pierre Bourgault a prominent sovereignist and talks of the stages of Quebec colonial history up to the election of the Parti Quebecois in 1976. The newspaper reproductions cover some important events of this aspect of her history from 1917 to 1976.; 4to - over 9¾" - 12" tall . Stanke unknown
1977ZB601102Montreal: Stanke 1977. one leaf of text 24 folding enlarged reproductions of the front pages of newspapers from 1917 to 1976 dealing with autonomy and independence for Quebec; all loose in paper covered board folder with pocket; folder rubbed and worn with hinges split reproductions near fine. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Montreal: Stanke unknown
197719000Montréal Stanké 1977
197526446Montréal Jean-Pierre Paquin, éditeur 1975
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
197433400Sans lieu Jean-Pierre Paquin, éditeur 1974 In-16, 119p. Couverture illustrée.
1939ABE-173793898074256 PAGES-COUVERTURE: ROBE DE MAGGY ROUFF CHAPEAU DE SUZY GANTS ARIS, PHOTO SAAD-ILS SERONT CELEBRES DEMAIN, ANDRE MATHIEU, TATIANA STEPANOVA, 2 PAGES, 8 PHOTOS-L'ABC DES SEMELLES, 2 PAGES-DERNIERES NOUVELLES DE LA MODE EN AOUT ON PORTERA DES COULEURS, 2 PAGES, HEIM, PAQUIN, BALENCIAGA-CINQ NOUVELLES MANIERES DE NOUER LES MADRAS, 3 PAGES-VOTRE ALTESSE SERA PUNIE., PRINCE EDWARD, 1P, 11 PHOTOS-UN JEU POUR VOS VACANCES: POURQUOI AVEZ-VOUS PARLE D'EUX?, 2 PAGES-EN 4 DE COUVERTURE: PUBLICITE BADOIT
1950ABE-151102365821852 PAGES-EN COUVERTURE ILLUSTRATION COULEURS DE DEMACHY POUR CREATION PAQUIN-1 DECOUPE P13/14-ROBES DE MARIEE LANVIN ET JACQUES FATH-L'INDISPENSABLE PETITE ROBE-CORTEGES-VIVE LA MARIEE MASQUES ET TRAVESTIS, DESSINS SUR 2P
1950ABE-160218240641152 PAGES-19,8 CM X 29,2 CM-EN COUVERTURE: MODELE PAQUIN, ILLUSTRATION COULEURS DE JACQUES DEMACHY-PATRON
1952ABE-316290589680 PAGES-EN COUVERTURE CREATION DE PAQUIN/DESSIN COULEURS DE MOURGUE-MODE-FRANCOISE POUPEE DE MODES ET TRAVAUX-PUBLICITES
191389428Paris: Lucien Vogel éditeur 1913. Fine. Lucien Vogel éditeur Paris Août 1913 19 x 24.50 cm une feuille Original colour print printed on laid paper and signed in the plate lower right. 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 1910Â’ 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 artistsÂ…I was assured of success because when it comes to fashion no country on earth can compete with France.’” “Un grand éditeur dÂ’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 illustratorÂ’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 onÂ… 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. Lucien Vogel éditeur unknown
191389428Lucien Vogel éditeur | Paris Août 1913 | 19 x 24.50 cm | une feuille
