2 423 résultats
1922wq652Feuilles 1922 "In-4 (27 x 33 cm), 2 feuilles ornée par George Barbier, tirées de l'ouvrage ""Les Chansons de Bilitis"" (A NOTER : il s'agit uniquement d'ornements, et non pas de gravures in ou hors texte) ; quelques petits froissements, bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande."
1922wq650Feuilles 1922 "In-4 (27 x 33 cm), 66 feuilles ornée par George Barbier, tirées de l'ouvrage ""Les Chansons de Bilitis"" de 1922 (A NOTER : il s'agit uniquement d'ornements, et non pas de gravures in ou hors texte) ; quelques rares rousseurs, petite tache au dernier feuillet, bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande."
1915234041915 1 Encre de Chine et mine de plomb, signé du monogramme en bas à gauche, 1915, 8,4 x 26,7 cm.
1995RO30375210Editions Rouge & or. 1995. In-8. Cartonné. Bon état, Coins frottés, Dos satisfaisant, Intérieur frais. 27 pages. Rares rousseurs. Nombreuses illustrations en couleurs.. . . . Classification Dewey : 843.0692-Livres d'enfants
1996R300305679Plaisir & Santé. 1996. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 135 pages.. . . . Classification Dewey : 610-Sciences médicales. Médecine
1986RO80214315Galerie Jacques Barbier. 1986. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Environ 15 pages. Quelques illustrations en couleurs hors texte.. . . . Classification Dewey : 708-Galeries, musées, collections d'art
1923234061923 1 Dessin à la mine de plomb, signé du monogramme en bas à droite, 1923, 17,5 x 14,4 cm.
1915R300323452Gaston Doin et Cie. 1915. In-12. Broché. Etat d'usage, Couv. légèrement passée, Dos plié, Papier jauni. 325 + XII pages.. . . . Classification Dewey : 540-Chimie et sciences connexes
191489405Paris: Lucien Vogel éditeur 1914. Fine. Lucien Vogel éditeur Paris Février 1914 19 x 24.50 cm une feuille Original colour engraving richly heightened with gold printed on laid paper signed in the plate lower right. An original print used to illustrate the Gazette du bon ton one of the most attractive and influential 20th century fashion magazines featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel La Gazette du bon ton appeared until 1925 with a hiatus from 1915 to 1920 due to the war the editor-in-chief having been called up for service. It consisted of 69 issues printed in only 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 dart. 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 illustrators 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. Lucien Vogel éditeur unknown
191489405Lucien Vogel éditeur | Paris Février 1914 | 19 x 24.50 cm | une feuille
1921208771921 Aquarelle sur papier greige signée et datée en bas à droite, 1921, 27 x 20 cm., encadrée.
1919225051919 1 Aquarelle en couleurs, rehauts d'or, (1919), papier collé sur carton, 26.5 x 20 cm., encadrée.
1996R100074780Casterman. 1996. In-8. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 125 pages - nombreuses illustrations en couleurs dans le texte.. . . . Classification Dewey : 946-Espagne, Portugal
192415385Reidel 1924 1 Pochoir, signé et daté en bas à droite dans la planche, Paris, Jules Meynial, Imprimerie Reidel, 1920, 20 x 31 cm.
192017176Reidel 1920 1 Pochoir, signé et daté en bas à droite dans la planche, Paris, Jules Meynial, imprimerie Reidel, 1920, 20.5 x 31.5 cm. (format à vue), 40.5 x 31 cm. (format de la feuille).
1983RO30327035Magnard. 1983. In-4. Cartonné. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 496 pages illustrées de nombreuses photos et illustrations en noir et blanc et en couleurs, dans le texte.. . . . Classification Dewey : 372.89-Livre scolaire : histoire / géographie
191484745Paris: Lucien Vogel éditeur 1914. Fine. Lucien Vogel éditeur Paris Juin 1914 36.50 x 24 cm une feuille Original double color print heightened with gold and palladium printed on laid paper signed lower left on 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 ""address 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 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 was therefore thinking 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 therefore 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 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 unknown for the most part 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 day's fashion. La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic demand and plastic unity it brings together for the first time the great talents of the worlds of arts letters and fashion and imposes through this alchemy a completely new image of woman slender independent and bold also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Rochas. Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the ""little dying journal"" that Nast had bought a few years earlier: Vogue magazine. Lucien Vogel éditeur unknown
191484745Lucien Vogel éditeur | Paris Juin 1914 | 36.50 x 24 cm | une feuille
191924257La renaissance de l'Art Français et des Industries du Luxe Atelier Patria 1919 1 Pochoir rehaussé au paladium, signé et daté en bas à droite dans la planche, (1918), 27.5 x 19.5 cm. Paris, La Renaissance de l'Art Français et des Industries du Luxe, Atelier Patria, 1919,
1925225061925 1 Aquarelle en couleurs, signée et datée au milieu à gauche, 1925, papier collé sur carton, 24.5 x 20 cm., encadrée.
192221896CORRARD 1922 1 Estampe originale en couleurs pour Les Chansons de Bilitis, gravée sur bois par François-Louis SCHMIED. Paris, Pierre Corrard éditions, 1922, 19.5 x 16.7 cm (format à vue), 33.2 x 26.5 cm (format de la feuille).
1998ROD0123967PUF. 1998. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 127 pages.. . . . Classification Dewey : 616.86-Drogue, alcolisme, toxicomanie
1969R160181675ROBERT LAFFONT. 1969. In-8. Broché. Etat d'usage, Couv. convenable, Dos plié, Mouillures. 285 Pages - Quelques planches photos en noir et blanc - Couverture contre pliée - Traces de mouillures sans conséquence pour la lecture - Renforts adhésifs sur les contre plats - Une étiquette contre collée sur la coiffe en pied et la tranche en pied du 1er plat. . . . Classification Dewey : 940.53-Seconde Guerre mondiale 1939-1945
1974R300274041Librairie générale de Droit et de Jurisprudence. 1974. In-8. Broché. Etat d'usage, Couv. légèrement passée, Dos plié, Non coupé. 757 pages. Papier jauni. Quelques rousseurs sur les plats. Légères traces de mouillures sur le 1er plat. 1er plat légèrement frotté.. . . . Classification Dewey : 320-Science politique
1923238961923 1 Aquarelle en couleurs sur carton, signée à droite, (1925),22 x 13.5 cm. (format à vue), 26.3 x 20.1 cm. (format de la feuille).
