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This is ia very good softcover copy with only light wear. Completely clean inside and out (save for a short name to the title-page). Spine not creased, binding firm. A little wear to the right corners and a tiny tear to the back cover top edge. Text in French. This is a survey of political posters and broadsides associated with the Chambre Syndicale in Paris (Confederation Generale du Travaille) from the late 19th century to the 1970's. Illustrated in black & white and color. Also a number of vintage photographs in black & white of workers, street demonstrations, etc. 13 1/2" high X 10 1/2" wide. This book will be securely packed and shipped with tracking.
Broch?. 62 pages.
SNCF, sans lieu, 1956. Réf. SNCF 0016114(PIX 114 ter). P. Hauducoeur.61w 10524.1.56. Une affichette en trois couleurs de dimensions 14,5x19; scènes très expressive. Photo sur demande. Parfait état.
SNCF, sd., (vers 1960?). Une affichette en trois couleurs de dimensions 15x20cm; Réf. SNCF 0.001.6121., P. Hauducoeur- W2;2;2379_9-62. Bel état. Scène spectaculaire. Photo sur demande.
SNcf, sd. (vers 1950 ?). Une affichette en trois couleurs de dimensions 20x15 cm; Réf. SNCF PIX 160 ter. Imp. Grange 5 AW 11276. Parfait état.illustration saisissante. Photo sur demande.
Sncf, sans lieu sans date (vers 1950). Réf. Sy 0.001.6109. Une affichette de dimensions 21x27, à dominante rouge et bleu. Bel état. Très spectaculaire. Photo sur demande.
SNCF, sans lieu sans date (1956?). Ref; SNCF 001.6156. (P.IX 156 ter). Jombart 61 W 12550 6-56. Une affichette de 20x15, en trois couleurs dominante de bleu; tête d'homme de profil rabattant la visière de son casque médiéval. Etat de neuf, mais traces de punaises aux angles. Voir la photo.
sans lieu, sans date (vers 1950). Provenance SNCF. Une affichette ronéotée de dimensions 21x27, en noir et rouge, représentant un convoi en cours de formation avec l'emplacement de l'agent en rouge. Bel état. Voir la photo.
Sans lieu, sans date (vers 1950), provenance sans doute la SNCF. Une affichette ronéotée en noir de dimensions 21x27, représentant des chamois dans les rochers et un agent SNCF trébuchant sur des rails. Bel état. Voir la photo.
Alternatives, 2019, 519 pp., broché, dos un peu en gouttière, état très correct.
Manifesto di cm. 39x29, in lingua italiana e francese. Si tratta di un manifesto a scopo elettorale per le elezioni alla Tribuna Nazionale. In buono stato (good copy).
cm 45x89. colored pochoir print. Litografia colorata con la tecnica del pochoir. Santos Dumont (1873-1932), brasiliano, fu un pioniere dell’aviazione; disegnò e costruì alcuni dei primi dirigibili, compì il famoso volo attorno alla torre Eiffel. La Demoiselle, monoplano costruibile in soli 15 giorni, fu l’ultima creazione di Santos Dumont. ottime condizioni.
- Lucien Vogel éditeur, Paris 1922, 18x24cm, relié. - Set of eight original prints in color, drawn on laid paper. The boards are introduced by a text signed Joan Ramon Fernandez. The sketches are signed XIX and XXI David, respectively on the lower right and left boards. Original prints made ??for the illustration of The Gazette fashionable, one of the finest and most influential twentieth century fashion magazines, celebrating the talent of creators and artists French burgeoning art deco. Famous fashion magazine founded in 1912 by Lucien Vogel, The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920, due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication, these luxury publications "are for bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "good Gazette of tone" in the fashion dictionary, 2016). Printed on fine laid paper, they use a typeface created specifically for the magazine by Georges Peignot, the Cochin character, taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil, enhanced color and some outlined in gold or palladium. The adventure began in 1912 when Lucien Vogel, man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff (John's sister, the father of Babar) Gazette good tone in which the subtitle is then "Art, fashions and frivolities." Georges Charensol quotes the editor: "In 1910, he observed, there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists [...] I was certain of success because for any fashion country can compete with France. "(" A great art editor. Lucien Vogel "in literary News, No. 133, May 1925). The success of the magazine is immediate, not only in France but also the US 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 School of Fine Arts as are George Barbier, Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Halouze Alexander Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel appealed to them, will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette. The boards highlight the dresses and sublime seven artists of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless, some of Illustrations contained no real model, but only the idea that the illustrator is done in the fashion of the day. Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit, it brings together for the first time the great talents of the world of arts, literature and fashion and imposed by this alchemy, a new image of women, slender, independent and bold, also driven by the new generation of designers Coco Chanel, Jean Patou, Rochas Marcel ... Recovery in 1920 by Condé Montrose Nast, Gazette fashionable modeled for the new composition and the aesthetic choices of the "little dying newspaper" that Nast had bought a few years ago: the Vogue magazine. [FRENCH VERSION FOLLOWS] Ensemble de huit estampes originales en couleur, tirées sur papier vergé. Les planches sont introduites par un texte signé Jeanne Ramon-Fernandez. Les croquis I et II sont signés David, en bas à droite des planches. Reliure à la bradel en plein papier à
- Branston, London 1840 (S.d), In-4 (24x30,5cm), relié. - Recueil constitué par une main anonyme de chromolithographies, de gravures. Nombreuses pages avec des encadrements divers, gothiques, ornementaux, destinés à recevoir des gravures. Frontispice en chromolithographie rehaussé de couleurs. Les papiers destinés à recevoir dessins, gravures ou chromos sont de diverses couleurs, bleus, verts, crèmes, roses. Le recueil se termine par des feuillets de partition qui sont demeurés vierges. Reliure d'éditeur anglaise en plein chagrin bordeaux. Dos lisse orné d'une grande plaque ornementale romantique. Plats avec un rectangle central en relief décoré d'un grand fer avec l'inscription : Album orné, fers à froid d'encadrement. Riche frise Renaissance en papier d'encadrement. Frise à froid d'encadrement et filets d'encadrement avec petits fers angulaires. Papier de garde représentant une grande dentelle. Ce type de recueil, destiné aux familles, et qu'on remplissait de gravures ou de dessins, est un beau et rare témoignage de l'époque romantique. Habillé d'une riche reliure d'éditeur, il était fait pour orner les salons. Les pages possèdent un ou plusieurs encadrements et donc une ou plusieurs gravures que l'on découpait pour ensuite les coller. On y trouve des gravures, des lithographies, certaines en couleurs, 2 dessins, un lavis, le tout sur 60 feuillets. Rare témoignage de l'époque romantique, keepsake familial ou personnel, dans une riche reliure d'éditeur anglaise. NB : Cet ouvrage est disponible à la librairie sur demande sous 48 heures. [ENGLISH DESCRIPTION ON DEMAND]
Mm 245x285 Volume cartonato rigido con sopracoperta illustrata a colori, 287 pp. con numerose illustrazioni in b/n e a colori comprese nel testo. Opera redatta in lingua francese ed inglese. Libro in perfette condizioni di nuovo, spedizione in 24 ore dalla conferma dell'ordine.
(Codice BN/1417) In 8° (24 cm) 71 pp. Con tavole 27 a colori, tra cui vari manifesti, e alcune illustrazioni in nero. Brossura editoriale. Ottimo stato: COME NUOVO. ~~~ SPEDIZIONE IN ITALIA SEMPRE TRACCIATA
Mm 235x285 NUOVO - Catalogo della mostra di Milano, Palazzo Reale, 10 dicembre 2015 - 20 marzo 2016. Volume in copertina rigida, 271 pagine profusamente illustrate a colori lungo l'intero testo. Copia in condizioni di nuovo, spedizione in 24 ore dalla conferma dell'ordine.
Mm 115x165 Raccolta di 30 cartoline a colori con belle riproduzioni di opere di Alfons Mucha. Esemplare in ottime condizioni. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
- Lucien Vogel éditeur, Paris 1924-1925, 18x24cm, 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 de la planche. Gravure originale réalisée pour l'illu
- Lucien Vogel éditeur, Paris 1921, 18x24cm, 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 gauche de la planche. Gravure originale réalisée pour l'illustrat
(Codice SO/0574) In 4° (27,5 cm) 286 pp.Almanacco del Sessantenario. Dieci anni di manifesti del PCI, cronologia 1919-80, 60 anni nelle foto inedite del movimento. Moltissime illustrazioni e foto, in nero e a colori. Brossura originale, copertina un po' usata, ma integra. Interno ottimo. ~~~ SPEDIZIONE IN ITALIA SEMPRE TRACCIATA
Mm 235x285 Catalogo della mostra di Roma, Complesso del Vittoriano - Ala Brasini, 15 aprile - 11 settembre 2016. Volume in copertina rigida, 248 pagine completamente illustrate a colori. Libro in condizioni di nuovo - "Donne. Sorridenti, sensuali, sinuose, dalle forme morbide e i volti gentili. Donne dagli sguardi intensi, forti e coraggiose, ambiziose, combattive. Donne fragili, materne, protettive, sante e innamorate. Giovanne d'Arco e Medee. Donne sconosciute e altre celebri: Sarah Bernhardt, Ethel Barrymore, Leslie Carter, Halide Edip Adivar. Le donne di Mucha, immortalate dall'artista con il tocco leggero, sono protagoniste della monografia che accompagna la grande esposizione romana: oltre duecento opere (dipinti, disegni e manifesti) appartenenti alla Fondazione Mucha compongono uno straordinario ritratto di Alphonse Mucha, il più grande artista ceco, noto nel panorama artistico per aver ideato, nei primi del Novecento, quello stile caratterizzato da linee curve e morbide che si diffonderà in tutto il mondo con il nome di Art Nouveau o Stile Liberty. Introdotto dal saggio di Tomoko Sato, presidente della Fondazione Mucha, il volume è suddiviso in sei sezioni (Un bohémien a Parigi; Un creatore di immagini per il grande pubblico; Un cosmopolita; Il mistico; Il patriota; L'artista-filosofo) e ricostrusce per intero il percorso figurativo e umano di un grande artista ancora poco conosciuto in Italia." Copia in condizioni di nuovo, spedizione in 24 ore dalla conferma dell'ordine.
Appears unread. No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked red cloth boards and the faintest of bumps to lower corners. Dust jacket not price clipped or marked or torn or creased with minor sunning. Jacket now protected in fully-removable transparent sleeve. 192pp. The works of Alphonse Mucha from the 1890s when he was at the height of his fame and producing his panneaux decoratifs and his celebrated posters for the theatre and other outlets. His style became synonymous with Art Nouveau. With 163 illustrations in colour.
Manifesto in cromolitografia, cm.140x99. Torino, Gros Monti & C. Bella immagine di una ragazza che alza la bottiglia dell'amaro, sullo sfondo veduta montana della zona del Sesia. Doppie piegature centrali, alcuni vecchi rinforzi al verso nel punto di piega.
63 pages. Wall-to-wall illustrations, primarily in colour. "An outstanding compilation of a variety of keepsake items and novelties produced in the United States to bolster morale during World War II on the homefront." - from back board. Clean, bright and unmarked with lightest wear. Excellent copy. Book
