MareMagnum
SPERRY (Chuck) & DONOVAN (Run)Livre Rare Book
THE BEATLES ANTHOLOGY
2959Firehouse Record. 2000. Impression en sérigraphie recto/verso. Imprimée à 2000 ex. Diam : 440 mm. Signatures originales
Librairie Michaël Seksik · France680,00 €
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2959Firehouse Record. 2000. Impression en sérigraphie recto/verso. Imprimée à 2000 ex. Diam : 440 mm. Signatures originales
2959Firehouse Record. 2000. Impression en sérigraphie recto/verso. Imprimée à 2000 ex. Diam : 440 mm. Signatures originales
17575Copie XIXème. 278 x 385 mm. Rousseurs.
Shiny pink poster of Fenton's poem with illustration by Nicholas Garland. 61cmx91cm. Poster has been folded and is presented in an envelope slightly larger than A4. Envelope is addressed to Heywood Hill bookshop in London and has been illustrated by Alex Garland. Very good condition. AD
199165023Tiburon, California, Woodriver Publishing, (1991). 175 S. Mit zahlr. Illustr. 4to (ca. 28 x 20,5 cm). OKart.
2015144783ABBEVILLE PRESS Publishers. New York - London - Paris. 2015. Ca. 500 n. n. pages. With hundreds of illustrations in colour. Illustrated original softcover bindingn. 11,5x11 cm
2936Art Rock Gallery. 2001. Impression en sérigraphie. Dim: 575 x 357 mm. Tirée à 150 ex. Signature originale.
2936Art Rock Gallery. 2001. Impression en sérigraphie. Dim: 575 x 357 mm. Tirée à 150 ex. Signature originale.
U.K. 1970, manifesto di cm. 50 x 70 con schema esplicativo figurato di tutti i phyla del regno animale.
New book still in shrink-wrap. 192pp. A selection over each decade of the last 100 years of American advertising as displayed on billboards throughout the country.
1538Impression en sérigraphie. The Expo 86 Corporation. Printed in Canada. Dim: 92 x 63,5 cm.
1538Impression en sérigraphie. The Expo 86 Corporation. Printed in Canada. Dim: 92 x 63,5 cm.
199520431PBC International, N.Y. 1995 In-4, broché couv. rempliée illustrée, photographies et illustrations en couleurs, 184 pp. En anglais. Etat neuf.
3585Affiche au format 70 x 50 cm., avec très légères traces de plis. Peu courante.
3583Art Moderne. Affiche au format 50 x 70, en belle condition.
20051082482005 Décembre 2005 - Catalogue d'enchères - In-4 broché - Sans pagination - Couverture illustrée - Nombreuses illustrations (affiches de cinéma) en couleur
34841000 Editions. Affiche au format 68 x 98 cm.
209605S.l.n.d. (vers 1816) in-folio (37 x 24 cm), texte sur deux colonnes, dans un encadrement de palmettes gravées, avec un portrait en médaillon de la famille royale d'après un physionotrace, en feuille, légère mouillure angulaire infra-paginale.
- 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 haut à gauche de la planche. Gravure originale réalisée pour l'illustration d
Une affiche de dimensions de 49 x 63 cm; lithographie anonyme. Parfait état. Peu fréquente. Voir photo.
196515791Paris à la Galerie 1965 1 Une affiche de dimensions de 49 x 63 cm; lithographie anonyme.
1752affiche en 2 couleurs de victor prouvé dimensions 50 X 65 cm berger levrault 1918
2865Affiche au format 70 x 50 cm., à l'état de neuf.
Une seule affiche de dimensions 5& x66,( cm; lithographie de Mourlot. Un coin légèrement frippé; sinon bien fraîche. Voir photo.
