‎Collectibles‎

‎Darlow, T H; & H F Moule‎

‎Historical Catalogue of the Printed Editions of Holy Scripture in the Library of the British and Foreign Bible Society complete in 4 separate volumes; new still in publisher's shrinkwrap‎

‎Cambridge Massachusetts: Maurizio Martino Publisher 1993. 4 separate hardcover volumes complete. BRAND NEW in perfect condition. STILL SEALED in the publisher's clear plastic SHRINKWRAP. NO rubbing. NO fading. Bright clean square and tight. Sharp corners. NO owner's name or bookplate. NOT a remainder. Fresh and crisp -- obviously never read. No date but 1993 First Martino printing "strictly limited to 350 copies". Reprint of the original four volumes that were published by the British and Foreign Bible Society London 1903-1911. 2341 total pages. Excellent annotations. Vol. 1: English; Volumes 2-4: Polyglots and languages other than English; A-G; G-O; O-Z. Five indexes. The four volumes are uniformly bound in the publisher's maroon cloth lettered in bright gold over black spine panels. Besterman 759. Breslauer/Folter 23. Sheehy BB80: "An indispensable catalog of editions of the Bible arranged chronologically." This heavy 4 volume set will require extra postage for Priority and International shipments. But for media mail you pay only our standard charge for 1 volume and we ship the other three volumes at no extra cost. First Martino printing Limited 350 sets. Hardcover heavy. New/in publisher's shrinkwrap. Illus. by We ship 4 volumes for cost of 1 via media mail. 4 vols. 2341pp. Great Packaging Fast Shipping. Maurizio Martino Publisher Hardcover‎

Referencia librero : 018271

‎Darmon, David Smith‎

‎The Regular Book of Entries Belonging to David Smith Darmon business ledger‎

‎Salem N.J. 1840. Hardcover. Good. approx. 650 p.; 41 cm. Remains of original leather binding. Ledger book of David Smith Darmon 1815-1879 a saddler in Salem N.J. The first part of the ledger begins on April 15 1840 and goes to Feb. 26 1858 in Salem N.J. The next page is headed "Philadelphia July 16 1859." The Philadelphia entries run through March 1860. The next page is headed "The Regular Book of Entries Belonging to David S. Darmon" and starts with April 11 1865 in Salem N.J. This suggests that the business had been taken over by David Smith Darmon one of the sons of David Smith Darmon 1815-1879 the latter generally known as Smith Darmon. This section runs to April 1875. The next section begins in Salem in Feb. 1889 but does not identify the person who "Commenced business this date." It runs to the beginning of 1892. The final section contains entries from the 1870s. David Smith Darmon 1815-1879 worked with leather as well as renting out horses and carriages. The entries run from making 16 handles for fire buckets for the Union fire Co. to hiring out a horse and sulky. A rare record of a mid-19th-century New Jersey business. In Good Condition: lacking leather from spine; front board is detached but present; back board is almost detached; front free endpaper is detached with loss from lower section without loss of writing; otherwise the pages are solid with occasional soiling or fading. hardcover‎

Referencia librero : 007288

‎Darmstadt‎

‎Ein Dokument Deutscher Kunst 1901- 1976. 6 Volume Set‎

‎DarmstadtGermany: Mathildenhohe Hessisches Landesmuseum Kunsthalle/ Eduard Roether Verlag 1977. This is a near fine softcover 6 volume set complete with almost no wear. Completely clean inside and very clean outside. Last volume has one neat signature of art historian previous owner on the front endpaper. Spines not creased bindings firm. Volume I: Ein Dokument Deutscher Kunst. 78pp. Text in German. Essays by H. W. Sabels D. Sternberger J. Hermand W. Hofmann G. Mann G. Reising M. Müller C. Pohl G. Busch. Volume II: Kunst und Dekoration 1851-1914. 208pp. Texts by R. Schoch H.M. Schmidt G. Reising S. Beeh-Lustenberger W. Beeh C.B. Heller H. Georgen. Volume III: Akademie-Sezession-Avantgarde um 1900. 192pp. Texts by H.-G. Sperlich and H. Kleinstück. Volume IV: Die Künstler der Mathildenhöhe. 232pp. Volume V: Die Stadt der Künstlerkolonie Darmstadt 1900-1914. Künstlerkolonie Mathildenhöhe 1899-1914. Die Buchkunst der Darmstädter Künstlerkolonie. 226pp.Texts by E.G. Franz E. Wiest A. Wolde E. Huber H.-G. Sperlich H. Paris B. Rechberg H.J. Wystrach and K. Wölfing C. Heelhaar E. Zimmermann. Volume VI Ein Dokument Deutscher Kunst Darmstadt 87pp. Texts by Dolf Sternberger Brigitte Rechberg among many others. Bibliography. Illustrated throughout in color and black & white with hundreds of photographs. 8.5" square. A beautiful set. These books will be securely wrapped and packed in a sturdy box and shipped with tracking. . Soft Cover. Near Fine. Mathildenhohe Hessisches Landesmuseum Kunsthalle/ Eduard Roether Verlag Paperback‎

Referencia librero : 006301

‎Darton, William, Jr‎

‎Map of Spain & Portugal Framed and Matted‎

‎London: Walkers Geography. Near Fine with no dust jacket. 1802. First Printing. Non-Book. Map by William Darton Jr. from Atlas to Walker's Geography. London: Vernor and Hood etc. 1802. Engraved. Original outline color. William Darton Sr. began his map-making business in 1787 in London. His cartographic publishing house would last in various manifestations until the 1860s. William Darton Jr. joined his father late in the eighteenth century and this is a map engraved by him for Walker's Geography. While not large c. 8.5" x 7.5" the maps contain an impressive amount of detail which is quite carefully presented. The information used was the best available in London at the beginning of the nineteenth century meaning the best in the world so this map is not only attractive but provides an excellent cartographic picture of Spain and Portugal at the beginning of the 19th century. NEAR FINE framed and matted. . Engraving. 10" x 9". 1 pp . Walkers Geography unknown‎

Referencia librero : 22279

‎Darwin, Charles‎

‎On The Origin Of Species By Means Of Natural Selection Or The Preservation Of Favored Races In The Struggle For Life Revised Fourth Edition With Changes Shown For Fifth Edition‎

‎New York: D. Appleton and Company 1869. Fourth American Edition First Printing . Brown Pebbled Cloth Gilt. Very Good. Folding Chart. 116 Pp 116 - 121 117-425; 426-432 Supplement; 443-440; 2 Pp Ads At Rear. "A New Edition Revised And Augmented By The Author" Containing The Entire Fourth British Edition With Additions And Corrections From The 1869 British Fifth Edition Added As Asterisked Pages And In A Supplement At End Indicating Corrections/Insertions To Be Made Throughout This Fourth Edition To Update It To The Fifth Edition But Not Including Heading "Survival Of The Fittest" Which Occurred In That Edition. Catalog At End Beginning With Page 2 No Page One But Apparently As Bound And Issued Perhaps To Remove A Now Obsolete Listing For The Fourth Edition Of This Work Continuing With P. 3. Original Pebbled Brown Cloth Covers With Slight Wear Fading To Cloth Evenly Colored And Without The Usual Fading Gilt Clear Original Yellow Endpapers With Solid Hinges Pages Clean Square And Crisp. A Very Scarce Edition Apparently Issued For A Short Time Prior To The Regular 1870 American Printing Of The Fifth British Edition; "Darwin On Line" Shows 440 Pp. But States Same As 1863-1868 Editions And Makes No Mention Of The Asterisked Pages Or The Supplement For The Fifth Edition. Folding Plate Present Facing P. 108. <br/> <br/> D. Appleton and Company hardcover‎

Referencia librero : 053547

‎Darwin, Charles‎

‎The Descent Of Man And Selection In Relation To Sex. In Two Volumes First American Edition Corrected Issue‎

‎New York: D. Appleton and Company 1871. First American Edition First Printing 1st Printing. Hardcover. Very Good . Drawings. Vi 409; V "Postscript" 436. Brown Cloth Gilt. First Edition Later Issue Still Dated 1871 On Title Page No Indication Of Later Printing But Later Issue As The First Issue Identifies 16 Errata In Volume I. Two Volumes In Original Brown Cloth Gilt Lettering On Spine Black Border And Design On Covers Light Yellow Endpapers. Two Page Catalog Origin Of Species And A Book By T H Huxley At End Of First Volume; 12 Pp Catalog Mostly Works By Spencer But Again Including Origin Of Species At End Of Second Volume. A Very Clean Unmarked Set Possibly Unread. Edges Of Page Block Still Show Original Polish. Gilt Bright Cloth Evenly Colored Endpapers Immaculate Hinges Strong And Without Cracking Attractive. Points Of Fraying At Corners And Tips Tips With Minute Professional Repairs To Cloth And Color; Faint Dampstain In Parts Of Lower Covers Of Vol. Ii Also Professionally Refurbished And Almost Invisible With No Trace Of Dampstaining Inside. <br/> <br/> D. Appleton and Company hardcover‎

Referencia librero : 031862

‎Darwin, Erasmus‎

‎The Botanic Garden; A Poem in Two Parts. Part I containing The Economy of Vegetation. Part II - The Loves of the Plants‎

‎St Paul's Churchyard London: J. Johnson 1791. Two volumes bound in one. Volume 1 - Second edition 1791. Volume 2 - Third edition 1791. Blanche Henrey 470 . Illustrated with two engraved allegorical frontispieces 18 engraved plates one of them folding - the Cypripedium plate which is often lacking - and two hand-coloured quarto pp xii 214 126 ii; x 197 both frontispieces and title pages browned and with some offsetting from plate to title the plates of the Portland Vase and the Fertilisation of Egypt similar this last plate by Blake after Fuseli; the remaining botanical plates clean lacking the corner of page 171/2 a relevant pencilled note at the base of one page a few pages with foxing but otherwise very clean and sound internally with the armorial bookplate of the Dowdeswell family Pull Court Worcestershire on the front endpaper together with a shelf label and a small newspaper clipping; the hand-colouring on the two plates is particularly attractive and there is also an extra engraved plate fixed to the verso of the first titlepage - a portrait of Darwin engraved by Haughton after Rawlinson - this has caused a little waving of the paper; contemporary full calf a little rubbed and scuffed rebacked the old spine laid down and with some wrinkling. Still a good sound copy. The first poem The Economy of Vegetation celebrates technological innovation scientific discovery and offers theories concerning contemporary scientific questions such as the history of the cosmos. The more popular Loves of the Plants promotes revises and illustrates Linnaeus's classification scheme for plants. One of the first popular science books the intent of The Botanic Garden is to pique readers' interest in science while educating them at the same time. By embracing Linnaeus's sexualized language which anthropomorphizes plants Darwin intended to make botany interesting and relevant to the readers of his time. Darwin emphasizes the connections between humanity and plants arguing that they are all part of the same natural world and that sexual reproduction is at the heart of evolution ideas that his grandson Charles Darwin would later turn into a full-fledged theory of evolution. This evolutionary theme continues in The Economy of Vegetation which contends that scientific progress is part of evolution and urges its readers to celebrate inventors and scientific discoveries in a language usually reserved for heroes or artistic geniuses. Darwin's attempt to popularize science and to convey the wonders of scientific discovery and technological innovation through poetry helped initiate a tradition of popular science writing that continues to the present day. Full Leather. Good. J. Johnson Hardcover‎

Referencia librero : 017068

‎Daubeny, Rev Charles‎

‎TWELVE LECTURES ON THE CHURCH CATECHISM Designed to Promote The Object of the Sunday Schools Addressed to the Parishioners of North-Bradley in the County of Wilts.‎

‎Bath: S. Hazard 1788. 1st Edition . Hardback. Fine. 12mo. 6 198ppii Contents; errata. Original half-calf with marbled boards. A rare item. Rev. Charles Daubeny 1745-1827 has a long article in Wikipedia which notes that this volume is his first book. No copies traced. He was the son of a Bristol merchant George Daubery and inherited a fortune upon his fathers death. He became Archdeacon of Salisbury in 1804. The author helped build the first 'Free Church' in England in Walcot.A RARE ITEM <br/> <br/> S. Hazard hardcover‎

Referencia librero : GT616

‎Daugherty, James‎

‎Daniel Boone‎

‎New York City Ny: The Viking Press 1939. 1st Edition 1st Printing. Hardcover. Near Fine/Very Good. Color Lithographs By The Author. 95 Pages Red Cloth Stamped In Dark Red Decorative Map Endpapers. First Printing "First Published October 1939" On Copyright Page. Book Near Fine No Marks Or Damage. Dust Jacket Priced $2.50 Light Wear A Few Short Tears And Tiny Losses At Edges. <br/> <br/> The Viking Press hardcover‎

Referencia librero : 049362

‎DAUMIER, Honore (1807-79)‎

‎La France se preparant a passer ses candidats sous la toise‎

‎Paris: Le Charivari 1869. Lithograph. Small 4to image size 8¼" X 10". Very good. Light even age toning. This is the May 3 1869 second state of Plate 73 in this illustrated newspaper's "Actualites" series and a strong clean impression. It depicts a statuesque crowned woman representing France and resembling our Statue of Liberty standing at right atop a scale with a measuring pole. Her right hand rests across her bosom and her left hand clutches the adjustable height bar near the top of the measuring pole. Behind her and at left stand a crowd of Frenchmen in suits and ties all staring apprehensively at her. The caption reads in translation "France preparing to get her candidates to pass muster under the measure of standards." Immediately below the plate at lower left is printed "A. de Vresse r.Rivoli 55" while at lower right is printed "Lith. Destouches r. Paradis Pre 28" and the stone number "16" appears in the base of the scale. A quite nice copy printed on wove paper. The rare first state was printed on newsprint stock and bore no caption and the rare third state bore a different caption than the second state. This print is displayed in a single cream matte and a ½" black wooden frame overall dimensions 13" X 16". Very good. Slight bit of dampstaining at upper left and lower right of matte not affecting print. Verso of frame bears the label of noted New York art gallery E. Weythe Art Books Prints. Daumier produced a vast number of social caricatures roughly 4000 in number many done for this famed publication. From the collection of former Illinois Senator ADLAI E. STEVENSON III b. 1930 son of the Illinois governor of the same name 1900-65 and great-grandson of the U.S. vice president of the same name 1835-1914. DR 3708. Le Charivari unknown‎

Referencia librero : 32445

‎Davidson Marshall B‎

‎Three Centuries of American Antiques: American Heritage‎

‎Outlet 1979 in4. 1979. Cartonné jaquette.‎

‎livre en bon état cependant jaquette abîmée déchirée en bas du dos intérieur propre‎

Referencia librero : 100155345 ISBN : 517294222

‎DAVENPORT Cyril‎

‎English Heraldic Book-Stamps. Figured and Described. BRIGHT CLEAN COPY IN UNRESTORED PUBLISHER'S BINDING‎

‎Archibald Constable 1909. Roy. 8vo. First Edition with numerous illustrations throughout free endpapers lightly browned; original dark red buckram gilt back gilt top uncut a remarkably well-preserved bright clean copy with virtually no trace of the usual foxing. Bright firm copy of the standard reference seldom found without institutional markings. VERY SCARCE IN THIS CONDITION. Archibald Constable, hardcover‎

Referencia librero : 31873

‎Davenport Cyril‎

‎English embroidered bookbindings‎

‎London: Kegan Paul Trench Trubner and Co. Ltd 1899. First edition small 4to pp. xxxi 1 113 1; color frontispiece 52 plates some in color; original green cloth gilt title on cover and spine t.e.g.; early owner's stamp on front endpapers very good. Part of The English Bookman's Library. <br/><br/> Kegan Paul, Trench, Trubner and Co., Ltd hardcover books‎

Referencia librero : 51073

‎Davenport Cyril.‎

‎Thomas Berthelet royal printer and bookbinder to Henry VIII King of England. With special reference to his bookbindings‎

‎Chicago 1901. Edition limited to 255 copies this one of 252 on hand-made paper 4to 102pp. color frontispiece 18 plates 9 in color and 8 text illustrations 6 printed on Japanese tissue mounted; a very good copy in original red linen-backed gray paper-covered boards printed paper label on spine some wear to extremities 1/2" x 1/4" dent at top fore-edge of front cover water stain at bottom of spine affecting inner margin of text pp. 11-69. Caxton Club 1909 X. <br/><br/> hardcover books‎

Referencia librero : 10074

‎DAVENPORT, John (? ?)‎

‎Autograph Document Signed fragmentary‎

‎Revolutionary War officer and early member of Congress. Fragmentary ADS 1p 5½" X 5½" Stamford Connecticut 17 June. Good. Clean and legible but archivally strengthened on verso at separating folds with edge chips along the bottom. Portion of a legal document a letter of attorney. Interesting and even fairly attractive despite condition. unknown‎

Referencia librero : 22699

‎Davenport, Cyril, FSA F S A‎

‎Mezzotints‎

‎New York and London: G. P. Putnam's Sons/Methuen and Co. 1903. Book. Very Good. Decorative Cloth. First Edition. Original olive green cloth decorated and lettered on upper front cover and spine panel in gilt deckled text block edges. Typical of issue cloth exhibits minor flecking/spotting to mid-front cover and along front joint and fore-edge cloth also slightly foxed on front cover with a few spots on rear cover. Gilt decoration on spine panel somewhat dulled. Firm binding. xlv208 pp. illus. w/ 40 engraved plates with tissue guards. Decently preserved copy. G. P. Putnam's Sons/Methuen and Co. Hardcover‎

Referencia librero : 036381

‎DAVENPORT, Cyril‎

‎Thomas Berthelet Royal Printer and Bookbinder to Henry VIII. King of England. With special reference to his bookbindings.‎

‎Chicago: Caxton Club 1901. First Edition. . Hardcover. See Description. 4to. 102pp. With 18 plates including 10 in color and in gilt. 5 illustrations of identification marks or seals are printed on tissue and inserted into the text. Partially uncut pages. Re-backed preserving the original spine. Paper spine label rubbed. Boards re-papered after original fashion. <br/> <br/> Caxton Club hardcover‎

Referencia librero : 000096

‎DAVEY, Martin L (1884-1946)‎

‎Typed Manuscript Signed‎

‎This Ohio democratic politician served that state as congressman 1918-21 and as their 53rd governor 1935-39. TMS 4pp onion skin sheets 8½" X 13 3/4" n.p. 1935 March 9. Very good. Small paper clip rust mark at upper left of first page. Original single-spaced typescript of the Ohio governor's irate speech titled "Radio Speech of Martin L. Davey Governor March 9th 1935" on the Federal Emergency Relief Administration programs within Ohio and his inability to exert any control over it. In part: "Many of you will recall that I made an issue of this relief situation in the campaign last year. I made a solemn promise to the people of Ohio to correct the abuses and to eliminate the waste and inefficiency. / .neither myself as Governor nor any agent of the State of Ohio has the slightest possibility of correcting any of the evils and waste and inefficiency that give rise to such wide-spread complaints. I am wholly unable to keep an earnest campaign promise to clean up this situation. / It is not my purpose to evade responsibility. I was perfectly willing to take all the blame that goes with executive power but when there is not the slightest power lodged in the Governor to correct the abuse and waste I am not willing to assume public responsibility for what is going on." A lengthy denunciation of the way in which New Deal programs were being carried out on the state level. Interestingly Davey's pre-gubernatorial business the Davey Tree Expert Company was one of the earliest to sponsor network radio programs -- thus Davey was well versed in the power of radio waves to influence constituents. Within weeks of taking office Davey -- whose tenure has been described as "one of the most extraordinary and bizarre periods in the annals of the Ohio governorship" -- began feuding with President Roosevelt. He accused the federal administration of relief in Ohio with being "cruel inhuman and wasteful" -- to which FDR accused Davey with corrupting relief efforts in Ohio. Roosevelt quoted federal relief administrator Harry L. Hopkins who maintained that Davey's campaign committee had solicited contributions to finance his inaugural ball from persons working with the Federal Relief Administration. Davey sought to have Hopkins arrested for criminal libel. Before the Ohio legislature Davey called Hopkins a coward and a liar and dared him to enter Ohio. This typescript clearly precedes this name-calling brouhaha for in it Davey discusses Hopkins and his agency in civil if not cordial terms. Chronologically this speech likely falls some time shortly after the beginning of the Davey-FDR feud and the FDR countercharges. Boldly signed by Davey at the conclusion. Fascinating and most unusual -- an important relic from this memorable Ohio political squabble. unknown‎

Referencia librero : 18072

‎DAVID‎

‎Bénédictine-Bernardine réformée de Port-Royal Croquis N°I La Gazette du Bon ton 1922 n°10‎

‎Paris: Lucien Vogel éditeur 1922. Fine. Lucien Vogel éditeur Paris 1922 19 x 24.50 cm une feuille Original color print printed on laid paper signed at the bottom right of the plate. A tiny tear in the right margin of the plate without damage to the illustration. La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists in the full bloom of Art Deco. Famous fashion magazine founded in 1912 by Lucien Vogel La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication these luxurious publications ""address bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""La Gazette du bon ton"" in Dictionnaire de la mode 2016. Printed on fine laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique heightened in colors and some highlighted in gold or palladium. The adventure begins in 1912 when Lucien Vogel a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff sister of Jean the father of Babar the Gazette du bon ton whose subtitle was then ""Art modes et frivolités"". Georges Charensol reports the words of the editor-in-chief: ""En 1910 observe-t-il il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes . J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France."" ""In 1910 he observes there was no fashion magazine that was truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists . I was certain of success because for fashion no country can rival France."" ""Un grand éditeur d'art. Lucien Vogel"" in Les Nouvelles littéraires n°133 May 1925. The magazine's success is immediate not only in France but also in the United States and South America. Originally Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly 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 Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel called upon them would later become emblematic and sought-after artistic figures. It is these same illustrators who create the drawings for the Gazette's advertisements. The plates highlight and sublimate the dresses of seven creators of the time: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless some of the illustrations feature no real model but only the idea that the illustrator has of contemporary fashion. La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic excellence and plastic unity it brings together for the first time the great talents of the world of arts letters and fashion and imposes through this alchemy a completely new image of women slender independent and audacious also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Rochas. Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton would largely inspire the new composition and a Lucien Vogel éditeur unknown‎

Referencia librero : 84844

‎DAVID‎

‎Immaculée conception XVIIIe siècle Croquis N°III La Gazette du Bon ton 1922 n°10‎

‎Paris: Lucien Vogel éditeur 1922. Fine. Lucien Vogel éditeur Paris 1922 19 x 24.50 cm une feuille Original color print printed on laid paper. La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists in the full bloom of Art Deco. Famous fashion magazine founded in 1912 by Lucien Vogel La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication these luxurious publications « s'adressent aux bibliophiles et aux mondains esthètes » ""are addressed to bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode 2016. Printed on fine laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The prints are made using the metal stencil technique heightened in colors and some underlined with gold or palladium. The adventure begins in 1912 when Lucien Vogel man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff sister of Jean the father of Babar the Gazette du bon ton whose subtitle was then « Art modes et frivolités ». Georges Charensol reports the words of the editor-in-chief: « En 1910 observe-t-il il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes . J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » ""In 1910 he observes there existed no fashion journal truly artistic and representative of the spirit of its era. I was therefore thinking of making a luxury magazine with truly modern artists . I was certain of success because for fashion no country can rival France."" « Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires n°133 May 1925. The magazine's success was immediate not only in France but also in the United States and South America. Originally Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly came 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 Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel called upon them would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements. The plates highlight and sublimate the dresses of seven creators of the era: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless some of the illustrations featured no real model but only the illustrator's idea of the day's fashion. La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic exigency and plastic unity it brought together for the first time the great talents of the worlds of arts letters and fashion and imposed through this alchemy a completely new image of woman slender independent and bold also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Rochas. Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the « petit journal mourant » ""dying littl Lucien Vogel éditeur unknown‎

Referencia librero : 84849

‎DAVID‎

‎La taupe - Manteau en taupe et peau de chamois Croquis N°LIII La Gazette du Bon ton 1922 n°7‎

‎Paris: Lucien Vogel éditeur 1922. Fine. Lucien Vogel éditeur Paris 1922 19 x 24.50 cm une feuille Original color print on laid paper signed lower left of the plate. La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists at the height of the Art Deco movement. Famous fashion magazine founded in 1912 by Lucien Vogel La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is notably illustrated with 573 color plates and 148 sketches representing models by great couturiers. From their publication these luxurious publications ""were addressed to bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""La Gazette du bon ton"" in Dictionnaire de la mode 2016. Printed on fine laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The prints are made using the metal stencil technique heightened in colors and some highlighted with gold or palladium. The adventure begins in 1912 when Lucien Vogel a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff sister of Jean the father of Babar the Gazette du bon ton whose subtitle was then ""Art modes et frivolités"". Georges Charensol reports the words of the editor-in-chief: ""En 1910 observe-t-il il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes . J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France."" ""In 1910 he observes there was no truly artistic fashion journal representative of the spirit of its time. So I was thinking of making a luxury magazine with truly modern artists . I was certain of success because for fashion no country can rival France."" ""Un grand éditeur d'art. Lucien Vogel"" in Les Nouvelles littéraires n°133 May 1925. The success of the magazine was immediate not only in France but also in the United States and South America. Originally Vogel brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly joined 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 Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel called upon them would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements. The plates highlight and sublimate the dresses of seven creators of the era: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless some of the illustrations feature no real model but only the illustrator's idea of the fashion of the day. La Gazette du bon ton marks a decisive stage in the history of fashion. Combining aesthetic demands and plastic unity it brought together for the first time the great talents from the worlds of arts letters and fashion and imposed through this alchemy a completely new image of woman slender independent and audacious also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Rochas. Taken over in 1920 by Condé Montrose Nast La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the ""dying little journal"" that Nast had bought a few years earlier: Vogue magazine. Lucien Vogel éditeur unknown‎

Referencia librero : 84834

‎DAVID‎

‎Manteau de suède bordé de zibeline Croquis N°LV La Gazette du Bon ton 1922 n°7‎

‎Paris: Lucien Vogel éditeur 1922. Fine. Lucien Vogel éditeur Paris 1922 19 x 24.50 cm une feuille Original color print printed on laid paper signed lower right on the plate. La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists during the height of the Art Deco movement. The famous fashion magazine founded in 1912 by Lucien Vogel La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication these luxurious publications ""were aimed at bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""La Gazette du bon ton"" in Dictionnaire de la mode 2016. Printed on fine laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique heightened in colors and some highlighted in gold or palladium. The adventure begins in 1912 when Lucien Vogel man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff sister of Jean father of Babar the Gazette du bon ton whose subtitle was then ""Art modes et frivolités."" Georges Charensol reports the words of the editor-in-chief: ""In 1910 he observes there existed no truly artistic fashion journal representative of the spirit of its time. I therefore thought of creating a luxury magazine with truly modern artists . I was certain of success because for fashion no country can rival France."" ""Un grand éditeur d'art. Lucien Vogel"" in Les Nouvelles littéraires no. 133 May 1925. The magazine's success was immediate not only in France but also in the United States and South America. Originally Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly came 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 Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel called upon them would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements. The plates highlight and sublimate the dresses of seven creators of the time: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless some of the illustrations feature no real model but only the illustrator's idea of the fashion of the day. La Gazette du bon ton represents a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity it brought together for the first time the great talents from the worlds of arts letters and fashion and imposed through this alchemy a completely new image of woman slender independent and audacious also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Rochas. Taken over in 1920 by Condé Montrose Nast La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the ""dying little journal"" that Nast had bought a few years earlier: Vogue magazine. Lucien Vogel éditeur unknown‎

Referencia librero : 84833

‎DAVID‎

‎Prélat de petit manteau Rome Croquis N°V La Gazette du Bon ton 1922 n°10‎

‎Paris: Lucien Vogel éditeur 1922. Fine. Lucien Vogel éditeur Paris 1922 19 x 24.50 cm une feuille Original color engraving printed on laid paper signed lower right on the plate. La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists during the flourishing of Art Deco. Famous fashion magazine founded in 1912 by Lucien Vogel La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication these luxurious publications ""s'adressent aux bibliophiles et aux mondains esthètes"" ""are addressed to bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""La Gazette du bon ton"" ""La Gazette du bon ton"" in Dictionnaire de la mode 2016. Printed on fine laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The engravings are produced using the metallic stencil technique heightened in colors and some highlighted with gold or palladium. The adventure begins in 1912 when Lucien Vogel man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff sister of Jean the father of Babar the Gazette du bon ton whose subtitle was then ""Art modes et frivolités"" ""Art fashion and frivolities"". Georges Charensol reports the words of the editor-in-chief: ""En 1910 observe-t-il il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes . J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France."" ""In 1910 he observes there existed no fashion journal truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists . I was certain of success because for fashion no country can rival France."" ""Un grand éditeur d'art. Lucien Vogel"" ""A great art publisher. Lucien Vogel"" in Les Nouvelles littéraires n°133 May 1925. The magazine's success is immediate not only in France but also in the United States and South America. Originally Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly come 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 Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel calls upon them will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements. The plates highlight and sublimate the dresses of seven creators of the era: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless some of the illustrations feature no real model but only the illustrator's idea of contemporary fashion. La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic demands and plastic unity it brings together for the first time the great talents of the worlds of arts letters and fashion and imposes through this alchemy an entirely new image of woman slender independent and audacious also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Rochas. Acquired in 1920 by Condé Montrose N Lucien Vogel éditeur unknown‎

Referencia librero : 84845

‎David & Jacques MARTIN‎

‎Le bonheur à table‎

‎Paris: Robert Laffont 1989. Fine. Robert Laffont Paris 1989 13.50 x 21 cm broché First edition illustrated with a photographic section. Handsome copy. Signed autograph inscriptions from David and Jacques Martin. Robert Laffont unknown‎

Referencia librero : 76074

‎DAVID - (BIANCHINI-FERIER)‎

‎Hermine et velours imprimé et lamé de métal tissu de Bianchini Croquis N°I La Gazette du Bon ton 1922 n°9‎

‎Paris: Lucien Vogel éditeur 1922. Fine. Lucien Vogel éditeur Paris 1922 19 x 24.50 cm une feuille Original color print printed on laid paper. La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists in the full bloom of art deco. Famous fashion magazine founded in 1912 by Lucien Vogel La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication these luxurious publications ""were aimed at bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""La Gazette du bon ton"" in Dictionnaire de la mode 2016. Printed on fine laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique heightened in colors and some highlighted in gold or palladium. The adventure begins in 1912 when Lucien Vogel a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff sister of Jean the father of Babar the Gazette du bon ton whose subtitle was then ""Art modes et frivolités."" Georges Charensol reports the words of the editor-in-chief: ""In 1910 he observes there existed no truly artistic fashion journal representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists . I was certain of success because in fashion no country can rival France."" ""Un grand éditeur d'art. Lucien Vogel"" in Les Nouvelles littéraires no. 133 May 1925. The magazine's success is immediate not only in France but also in the United States 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 École des beaux-arts such as George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly 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 Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel calls upon them will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements. The plates highlight and sublimate the dresses of seven creators of the time: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless some of the illustrations feature no real model but only the illustrator's idea of contemporary fashion. La Gazette du bon ton is a decisive stage in fashion history. Combining aesthetic requirements and plastic unity it brings together for the first time the great talents from the worlds of arts letters and fashion and imposes through this alchemy a completely new image of woman slender independent and bold also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Rochas. Taken over in 1920 by Condé Montrose Nast La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the ""dying little journal"" that Nast had bought a few years earlier: Vogue magazine. On the verso of the illustration 10 figures in black representing garters and suspenders. Lucien Vogel éditeur unknown‎

Referencia librero : 84826