Barber James W.ABAA
10 612 résultats
182586549New Haven: J. W. Barber 1825. Fair. Three unfolded partial sheets two pages to a side containing the 11 pages of text plus 6 wide-margined hand-colored plates. Later amateur stitching along left side. Ownership signature on front. Title-leaf portion copyright page on verso lacking about 30%. Edgeworn. Some foxing and browning. <br/><br/> J. W. Barber unknown books
1831008715New Haven CT: J. W. Barber. 1831. Hardcover. Eleven color plates including a map illustrate views of New Haven Connecticut in the "49th year of the Independence of the United States of America." 1831 printing. Some foxing throughout splitting along hinges. Quarter leather over marbled paper boards corners and edges quite rubbed. Howes B-125 lists a1831 printing. ; 16mo 6" - 7" tall . J. W. Barber hardcover books
1831008715New Haven CT: J. W. Barber. 1831. Hardcover. Eleven color plates including a map illustrate views of New Haven Connecticut in the "49th year of the Independence of the United States of America." 1831 printing. Some foxing throughout splitting along hinges. Quarter leather over marbled paper boards corners and edges quite rubbed. Howes B-125 lists a1831 printing. ; 16mo 6" - 7" tall . J. W. Barber hardcover
1866R320139579Perisse Frères/Marchessou. 1854-1866. In-12. Relié demi-cuir. Etat d'usage, Coins frottés, Dos satisfaisant, Quelques rousseurs. 348 + 175 + 104 pages - plats et contre plats jaspés - coins, tranches et plats frottés - titre et filets dorés sur le dos.. . . . Classification Dewey : 370-Education
20162-2376644151Editions Saint-Sébastien 2016. Paperback. New. 732 pages. French language. 9.00x6.00x1.83 inches. Editions Saint-Sébastien paperback
21709Orléans : Imprimerie moderne, 1912. Un volume in-8°, broché.
1021008095.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1022581147.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
0656559004.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
036443399X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1016270348.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
101627470X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1160268924.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
201954475X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1167694481.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
0666979545.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
A9781167694486New. unknown
B9781167694486New. unknown
2329286341.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1168169550.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
B9781168169556New. unknown
0486429903.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
191554705Paris: Lucien Vogel éditeur 1915. Fine. Lucien Vogel éditeur Paris Eté 1915 36.50 x 24 cm une feuille Double original color print heightened with gold printed on vergé paper signed in the plate. 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
191551292Paris: Lucien Vogel éditeur 1915. Fine. Lucien Vogel éditeur Paris 1915 37.60 x 24.20 cm une feuille Original color print printed on vergé paper signed in the plate. 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
191551292Lucien Vogel éditeur | Paris 1915 | 37.60 x 24.20 cm | une feuille
