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185024455ABBern, L.R. Walthard'schen Buchhandlung, 1850. 12°. IV, 252 S. Mit einer Panoramakarte. Orig.-Halblederband (leicht berieben und bestossen).
185024455ABBern, L.R. Walthard'schen Buchhandlung, 1850. 12°. IV, 252 S. Mit einer Panoramakarte. Orig.-Halblederband + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden + (leicht berieben und bestossen).
194215336ABZch, Buchdruckerei AG, 1942. 4°. XXV, 555 S, 2 Bl. Zahlr. Taf. (z.T. in Farbe) und Textillustr.. Orig.-HLdr. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, 15336AB
75-7988New York: Stubbs Books & Prints Inc. 1987. 12mo. Oblong Stapled Wrap ca. 10 pp. B&W Plates. Very Good with Creasing Sunning Abrasions.Provenance: From the Collection of Frederick Gale Ruffner Jr.The Founder of Gale Research Detroit New York: Stubbs Books & Prints, Inc., 1987 unknown
19621227684Berlin, Rembrandt-Verlag, (1962). 4to. 319 S. m. 423 Abb. im Text u. auf Taf. sowie 40 Farbtaf. OLwd. m. OUmschl. (Umschl. m. leichten Gebrauchsspuren).
Two volumes. pp. xii, [13]-334; vii, [1blank], [9]-337 (2)[Publisher's ads]. 12 mo. 197 mm. Original full fine linen cloth bindings. Spine mostly perished, and boards of one volume detached. Foxed. This set was a gift from Pennsylvania historian and archivist, Charles Coleman Sellers (1903-1980) to Dickinson College in 1950, and later withdrawn. First U.S. Edition. James Stuart (1775-1849) traveled from Liverpool to America, and visited: New York City, Albany, Auburn, Buffalo, Canada, Saratoga Springs, Connecticut, Boston, Philadelphia, Washington, Baltimore, and many more. He also observed the culture of the places he visited writing about issues on government, religion, slavery, education, ETC. Howes 1106; Sabin 93170. **PRICE JUST REDUCED! W145
1737487427Halle, Waisenhaus, 1737-45. 4to. Mit gestochenem Porträt u. 4 gestochenen Titelvignetten. Pergament d. Zeit mit Rückenschild (fleckig, 3 Rücken mit kurzen Einrissen). [3 Warenabbildungen]
1712627637Frankfurt u. Wittenberg, Schrey & Meyer Erben, ab Teil 2 Halle, Waisenhaus, 1690-1712. 4to. 3 Bl., 491 S., 3 Bl., 512 S.; 3 Bl., 880 S.; 4 Bl., 1200 S.; 3 Bl., 1046 S., 124 Bl. (Ohne das gestochene Porträt in Band 1). Halbleder d. Zeit mit Rückenschildern u. etwas Rückenvergoldung (berieben u. mit einigen Schabstellen, Ecken bestoßen, 3 Innengelenke angebrochen). [2 Warenabbildungen]
1719627638Halle, Waisenhaus, 1716 u. 1719. 4to. 1. Gestochenes Porträt, 7 Bl., 1324 S., 85 Bl. Index. - 2. Gestochenes Porträt, 3 Bl., 762 S., 17 Bl. Index. Pergament d. Zeit (fleckig, Rücken verstaubt). [4 Warenabbildungen]
1708615100Halle, Waisenhaus, 1708. 4to. 9 Bl., 1117, 198 S., 86 Bl. Index. Mit gestochenem Porträt. Pergament d. Zeit (verstaubt u. leicht berieben). [3 Warenabbildungen]
1697627580Frankfurt/Oder, Schrey & Hartmann, 1697. 4to. 15 Bl., 1084 (recte 1484) S., 40 Bl. Mit gestochenem Porträt von Stryk. - Ohne die genealogische Falttafel. Pergament d. Zeit mit handschriftlichem Rückentitel (gebräunt u. fleckig). [3 Warenabbildungen]
1670124883Jena, Hertel, 1670. 4to. 2 Bl., 186 S., 13 Bl. Index. Ohne Einband (geheftet).
1690124877Frankfurt u. Jena, G. H. Oehrling, 1690. 4to. 15 Bl., 696 S., 35 Bl. Index. Mit gestochenem Porträt u. gestochener Titelvignette. Pergament d. Zeit (etwas fleckig). [3 Warenabbildungen]
1845007972London: Printed for Thomas Tegg 1845. Book. Very Good. Hardcover. New Edition. Tall 8vo. Very Good in contemporary half pebbled brown morocco over marbled boards spine with five raised bands and lettered in gilt marbled end papers the bookplate of noted Celtic language and folklore scholar Edgar M. Slotkin front paste down along with a small bookseller's label. Prior owner name top edge verso front end page. Boards rubbed at edges binding solid contents quite clean and unmarked. A scholar's copy. Printed for Thomas Tegg Hardcover
1845007972London: Printed for Thomas Tegg 1845. Very Good in contemporary half pebbled brown morocco over marbled boards spine with five raised bands and lettered in gilt marbled end papers the bookplate of noted Celtic language and folklore scholar Edgar M. Slotkin front paste down along with a small bookseller's label. Prior owner name top edge verso front end page. Boards rubbed at edges binding solid contents quite clean and unmarked. A scholar's copy. . New Edition. Half Morocco. Very Good/No Jacket As Issued. Tall 8vo. Printed for Thomas Tegg Hardcover books
21X24 cm. 71 pages. Softcover with dust jacket. Cover edges stained. Cover edges and corners slightly wrinkled. Ex-Libris sticker on title page. Else in good condition.
19234528FBBerlin, Verlag von Paul Cassirer, 1923. Groß-8°. 23 x 19,5 cm. 331 (1) Seiten. Original-Leinenband mit goldgeprägtem Deckel- und Rückentitel und schwarzem Kopfschnitt.
18365714BBSt. Gallen und Bern, Huber und Compagnie, 1836. 8°. XII, 273(1) S. Mit 1 lithogr. gef. Karte von J. H. Heeb nach C. Bruder. Illustr. Orig.-Pappband in Schuber.
18365714BBSt. Gallen und Bern, Huber und Compagnie, 1836. 8°. XII, 273(1) S. Mit 1 lithogr. gef. Karte von J. H. Heeb nach C. Bruder. Illustr. Orig.-Pappband in Schuber. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +
- Lucien Vogel éditeur, Paris Janvier 1914, 36,5x24cm, 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 2,000 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. [FRENCH VERSION FOLLOWS] Estampe double originale en couleur rehaussée à l'or, tirée sur papier vergé, signée en bas à gau
- Lucien Vogel éditeur, Paris Juillet 1913, 19x24,5cm, 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 2,000 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. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en bas à droite dans la planche. Gravure originale réalisée pour
- Lucien Vogel éditeur, Paris 1913, 19,5x25cm, 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 2,000 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. [FRENCH VERSION FOLLOWS] Estampe originale en couleur tirée sur papier vergé, signée en bas à droite dans la planche. Gravure originale réalisée pour l'illus
18821943BBHorgen, J.J. Schläpfer, 1882. 8°. XII, 547 S. Mit 1 farb. Wappentafel, und 4 Holzstichtafeln mit Ansichten. Späterer Halblederband mit Rückschild (berieben und bestossen). + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +
18703286BBBasel, Neukirchsche Buchhandlung, o.J. (um 1870). 12°. VIII (2), 392 S. Mit 1 Titelholzst., 7 Holzst.-Tafeln, 8 Seitentafeln und 1 Plan (Stadt Basel) sowie zahlr. Textillustr. Orig.-Leinenband.
18703286BBBasel, Neukirchsche Buchhandlung, o.J. (um 1870). 12°. VIII (2), 392 S. Mit 1 Titelholzst., 7 Holzst.-Tafeln, 8 Seitentafeln und 1 Plan (Stadt Basel) sowie zahlr. Textillustr. Orig.-Leinenband. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +
