190 résultats
189916230ABAachen, Schweitzer 1899. 4°. 50 S., 1 Bl. OKt.
189422543Hamburg, Verlag des Museums für Kunst und Gewerbe, 1894. Erster Band: Seite I - XVIII und 1 - 390. Zweiter Band: Seite 391 - 827. Gr.-8°, grünes Orig.-Leinen, Rücken und Deckeltitel schwarz- und goldgeprägt. Die Einbände etwas berieben, die Innenfalze fachgerecht restauriert.
1897017153New York: Charles Scribner's and Sons 1897. First American Edition . Red Cloth Gilt. Near Fine. 12 1/2" Tall. 22 Copper Engravings 36 Full Page Plates100's of Illustrations in the Text. Xvi 470 Pp. Red Cloth Elaborately Gilt Red Gilt Endpapers. 12 3/4" X 9 1/4" X 2 1/8". All Edges Gilt.Near Fine And Scarce Thus. Slight Rubbing At Corners Spine Gilt Lettering Brilliant. Touch Of Rubbing At Bottom Of Spine And In Small Areas Of Edges/Tops. Very Strong Hinges. No Marks Or Signatures Small Bookplate And Price Sticker On Front Pastedown. Foxing To Verso Of Front And Rear Free Endpaper Plates Aged As Usual But Otherwise Fine. Remarkable For The Profuse Reproductions Of Fifteenth Century Engravings. Very Heavy Foreign Shipping At Usps Priority Mail Insured Box Rate. <br/> <br/> Charles Scribner's and Sons hardcover
1880551597Stuttgart: Spemann. 1880. XVI, 300 S. 24,5 cm. Zustand: Gut leicht gebräunt (Innen); Einband Außen hat leichte Gebrauchsspuren; Alle Ecken und Kapital sind leicht bestoßen; Gold-Komplettschnitt; Schutzumschlag fehlt, oder es gibt keinen; Leinen (Brauner Leinen)
186338173ABAachen, Kaatzer 1863. 8°. 32 S. Orig.-Broschur Umschlag lädiert und lose. Teils etwas fleckig, durchgehend etwas braunfleckig; teils auch schwach wasserrandig.
1873000021351Paris / London: Buckingham and Co./ London - 97 Newgate Street E.C. ca. 1873. hardcover. Good . Bertall. <br/><br/> Buckingham and Co./ London - 97, Newgate Street E.C. hardcover
18847550ABStgt, Weise 1884. 2°. [13 lose] Textbll., 72 (lose) Tafeln. Illustr. OHLwd-Mappe. Mappenkanten etwas berieben, wenige Tafeln geringf. angerändert bzw. im weißen Rand leicht angestaubt. Textbll. leicht gebräunt.
19002158BDornach:, Dillmont, o.J. (um 1900). 4°. 1 Titelblatt, 1 Doppelblatt Einleitung, 12 Doppelblätter mit durch erläuternde Figuren illustrierte Arbeitsanweisungen. Original Halbleinwand-Mappe mit Schliessbändchen. [3 Warenabbildungen] English Edition. Deckel etwas angestaubt und fleckig, ein Bändchen abgerissen. Innen lediglich minimal gegilbt und gut erhalten.
188550273ABWien, C. Graeser, 1885. 42 x 34 cm. Tafeln 31 bis 60 (Photolithographie & Druck v. Oscar Weigel, Wien). Zusammen in Orig.-Halbleinenmappe, 50273A.jpg (leicht angestaubt).
183079240Weimar, bei Ed. Lobe, [ca. 1830]. Bildmaß (mit Einfassungslinie) 10 x 14,5 cm, Blattmaß 17 x 20,5 cm. Rahmenlos unter Glas montiert mit textiler Kantenversiegelung u. geprägter Papierstreifeneinfassung.
180322307Paris, Janet, o.J. (1803 ?). Mit altkoloriertem, gestochenem Titel und 12 altkol. Modekupfern. 12 SS., 12 Bll, SS. 13 - 24 (paginierter Text ist gestochen). 16° (ca. 6 x 10 cm), flexibler Pappband der Zeit mit Buntpapierbezug (kleine Bezugsschäden, berieben und bestoßen).
1886325000Leipzig: E. A. Seemann. 1886. ca. 150 Seiten. Zustand: Gut min. gebräunt (Innen); Einband Außen hat leichte Gebrauchsspuren; Ist etwas bestoßen-berieben-befleckt; Lieferungen: 205 oder 206, 200+201; 210-212; 213+214; 215+216; 217+218; 219; 220+221; 222+223; Ist für mich nicht so richtig ersichtlich, ob die Lieferungen alle komplett sind; Lieferung 222+223 ist von 1888; Mappe
1861627801Paris: LEBRUN. 1861. 28x19cm. Zustand: Gut min. bis gering gebräunt, leicht wellig, im Text im Durchschnitt geringfügig fleckig (Innen); Innenbandbereiche, Vorsatzblätter und erste und letzte Seiten, leicht bis stärker fleckig; Einband (Außen) hat leichte Gebrauchsspuren; Ist leicht bestoßen-berieben; Schnitt ist geringfügig fleckig; Halbleinen
186863035steel engraving view from 'Les Promenades de Paris.'. <br />Reference: https://www.worldcat.org/title/promenades-de-paris-bois-de-boulogne-bois-de-vincennes-parcs-squares-boulevards/oclc/903118952referer=di&ht=edition<br />Condition: with small tear on paper edges cleaned. J. Rothschild in Ch. Chardon ainé, Paris.
185055957London: Chapman and Hall 1850. 8vo. xi 1 216 pp. plus 32 pp. publisher’s catalogue. Steel-engraved frontisp. of Queen Victoria w/ nearly 200 woodcut text engravings designs & plates 30 Fabric paper and wallpaper samples 1 sample w/ small hole. Black ribbed publisher’s cloth gilt lettering & spine minor wear & fraying to spine rear outer joint minor bumping to corners some offsetting to a few leaves from the samples still a VG- copy. First edition thus of this famed journal which aimed to improve the standards of British manufacturers and artists for the decorative and applied arts targeting the fast rising Victorian British middle class. This second volume is dedicated to the Duchess of Sutherland Mistress of the Robes and close friend of Queen Victoria as well as prominent abolitionist. There are numerous references throughout to the forthcoming 1851 Crystal Palace Exhibition as Cole 1808-1882 continually encouraged designers to reach a balance between utility and ornament and raise the quality of British manufacturing. He was elected the chairman of the Society of Arts in 1846 and was able to direct the organizing of the Exhibition which received over 6 million visitors and turned the profits from the Exhibition into founding the South Kensington Museum now the Victoria & Albert Museum. The Journal displays many samples of textiles wall papers embroidered textiles and silks. In addition there are extensive sections on pottery glass metalwork lighting sculpture furniture and much more. Of interest are the excellent articles on book arts book design including expositions by Ruskin the report on the forthcoming Exhibition to Prince Albert and more. These Journal volumes have become quite scarce in the market of late and they were all heavily used throughout the 19th century for reference and inspiration. Chapman and Hall, hardcover
18453220094<p><em>4to printed bifolio sheet 24 x 19.5 cm some marks and folds. Addressed to Joseph Hume M.P and signed by Richard Burchet R.W. Herman and W.D. Telfer. </em></p><p>In 1845 Richard Burchett became the ringleader of students protesting to the Board of Trade about the teaching methods at the Government School of Design: this was the first attempt to improve the instruction in the principles and practice of ornamental design. The complaint became so serious that eventually a Parliamentary Committee of Enquiry was instituted in 1846 at which he and others gave evidence. Oddly by that time Burchett had already become a master at the school and so was giving evidence against his own employees to the committee.</p><p>This copy was addressed to the radical Joseph Hume M.P who was a close friend of William Williams another radical M.P. who led the charge of incompetence by the School of Design in the House of Commons. After eight committee meetings it was agreed that the School was not in good shape 'the principles of Ornaments and the practice of original design as applicable to manufactures are not efficiently taught' and 'That a knowledge of manufacturing processes so as to enable the students to unite fitness and practicability in Ornament is not communicated.' Reforms were instituted but not in time for some woefully bad designs to appear at the Great Exhibition of 1851 for all the world to see.</p> [London], 17 Bond Street, Commercial Road. 10th July
181956897Kyoto Japan: Marubeni Shoten Design Dept. Keimeikai Textile & Dyeing Studio Tanioka Shoten Design Dept. ca. 1918-1945. Folio. 61 original hand-painted inked and pencil designs with a few on a lightly toned but quality semi-translucent paper the majority on thick paper stock and still others with two pieces carefully pasted together with contiguous designs sized from 9 x 15 in. up to 19.25 x 38.5 in. with 13 of the pieces larger the larger size a number of them sized 18 x 32 in. and many in the 14.25 x 15.5 in. size colour painted; the majority feature the design studio chop or crest at lower corners throughout many w/ annotations in margins several w/ change orders neatly annotated or even the title of the design and still many others w/ Roman numeric inventory codes in margins as well two still retaining original small silk samples many with creasing or minor tears & edgewear or creasing to fore-edges a few w/ small & large closed tears while others show some creasing and thumbing from continued use still an exceptional group of manuscripts. This superb archive of 61 original hand-painted kimono designs furnishes an exceptional visual array of Taisho- and early Showa-era Japanese motifs and styles. A number of the designs evoke traditional Japanese Ukiyo-e woodblock prints with deep vivid colours and well rendered illustrations. Many of these designs incorporate floral patterns including Kiku Chrysanthemum Botan Mon Peony Pattern Manju Kiku Marigolds Japanese Irises Morning Glory Cockscomb Ivy Dahlias and many other botanical motifs. In addition there are many illustrating ornately embroidered designs austere bamboo mushrooms and intriguing landscapes some with a small portion fully painted in with brilliant colouring while the outline of the kimono fills out the drawing. Two of the designs still features their original small attached silk kimono sample more reminiscent of Western Design houses which often attached their chosen fabric samples to their clothing designs. A few of the designs are executed on translucent thin paper for the kimono draper to transfer the design to white silk or other fabrics via some type of carbon paper process. Another of the designs has been executed on a stunning silver metallic paper with palm or bamboo leaf fronds executed in vivid blues & browns. Some feature a nearly surrealist quality while several others include illustrations of doves or chickens. Two of the designs incorporate Art Deco representations of Chinese Junks and Japanese sailing vessels typical of the 1930’s prior to World War II. In the Taisho Era a new era opened for textile designers working with Kyoto drapers and department stores with many having trained at new art colleges and then working in the design studios of Marubeni Keimeikai Textile & Dyeing Studio and others. The Tachiki Artist design studio designs on thin translucent paper include one with designer stamp of character embedded within a skull. Some appear to have two different date stamps for the Marubeni Shoten Design and some are unsigned or stamped. The Taisho- and Showa-era kimonos featured brighter colours more groundbreaking designs as Japan’s designers embraced traditional dress and transformed it into a new garment equally appealing to the “Moga†or brazen “Modern Girl.†The designer notes include instructions to “leave a little more space between the fans;†“Drop the little fan crest;†“too much white bush clover†on the pine cones and even that Matsuo Taishichi had ordered a design for “clothes for paying a visit for a young person.†The Marubeni Shoten originated with Chubei Itho who began in 1858 as a salesman for linen cloth and by 1872 had opened his drapery store Benchu in Senba Osaka. By 1918 Chubei Itoh had expanded the business into Osaka and deciced to merge with Itochu Shoten Ltd. becoming Marubeni Shoten with their own drapers shops and many contracts with department stores. Later by the mid-1950s Marubeni merged with the company that operated the Takashimaya Dept. Store Chain all the while preserving their design studio and artists. See: Yuko Fukatsu-Fukuoka The Evolution of Yuzen-dyeing Techniques and Designs After the Meiji Restoration 2004; Arisa Shinko Tomikawa Hand Painted Kyo Yuzen Atelier “Arisa†A Brief Introduction 2020; Annie Van Asche Japanese Kimono Fashion of the Early Twentieth Century Textile Society of America Symposium Proceedings 2000; Our History Our Roots Marubeni Corporation 2020. Marubeni Shoten Design Dept., Keimeikai Textile & Dyeing Studio, Tanioka Shoten Design Dept., hardcover
1815832561815. DESIGN Matsuoka Tokikata; Honma Hyakuri. SHOKUMON ZUE. 7 vols. privately published by Hyakuri apparently from 1815-25 as a completion of work begun by Tokikata in the late 18th very early 19th century. 19.3 x 26.9 cm string-bound Japanese-style fukuro toji with printed paper title labels - all bindings match. Hundreds of beautiful color textile designs reproduced in color woodcut. Nobleman Ladies Ceremonial dress Brocades Imperial costumes all are covered. Important and quite scarce as few sets were produced. Some worming otherwise the overall condition is very good. unknown
1894886851894. DESIGN HARUNA Shigeharu editor. Kogei Oyo ZUAN ZASSHI 7 issues. No.'s 20-26 Tokyo Meiji 26-27 1893-4. 24.5 x 16.6 cm. Stab-bound wrapper's in woodblock printed paper covers. Haruna Shigeharu 1847-1913 was a pottery painter born into the upper classes in Ishikawa prefecture here using his artistic and design skills to organize and edit this "PRACTICAL ARTS DESIGN MAGAZINE" full of black and white design ideas and articles on such topics as the Columbian Exposition etc. Very unusual periodical here in very good condition inside and out. A short but continuous run. unknown
19006644CParis:, H. L., Lévymeuble., [around 1900]. ca. 24cm x 16,5cm. 112 p. Original boards (softcover) bound with cord, with illustrated title to cover. Spine with bursts but stable, inside with yellowing and in good condition.
18512111902160201412Kawauchiya Shinjiro 1851. Soft Cover. Fine. Number of books: 5 Kawauchiya Shinjiro paperback
1890249781New York 1890. Approximately 34 items on various stock including George D. Thompson letterhead. Various sizes generally 7 x 3 1-2 in to 11 x 8 1/2 in. Some toning some designs show signs of previous mounting on verso generally very good. Approximately 34 items on various stock including George D. Thompson letterhead. Various sizes generally 7 x 3 1-2 in to 11 x 8 1/2 in. Watercolor designs in Classical Romantic and Chinoise styles for leather screens manufactured by George D. Thompson & Co. The company letterhead advertises "Hand tooled and painted chair leathers and wall panels . Period designs still life flower bird & fruit panels hand painted bellows trays humidors book covers." Some designs give dimensions and prices on verso. unknown
1898199819Essen-Altendorf, Selbstverlag, 1898. 1. Aufl. Mit zahlreichen Abbild., 176 S. 4°, dekorative OBrosch.
189928269ABParis, Lévy 1899. 4°. 2 Bll., 200, (4), (zus.) 24 S. (Supplement). HLwd der Zt mit Rückentitel. Einband etwas berieben; teils leicht gebräunt; zwei geringf. Randeinrisse; Name am hint. Spiegel.
187458335Stuttgart: W. Spemann 1874. 86 Bl. 40 x 30 cm. Original-Leinen.