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Strauß, Eberhard
Wohnen im SILO. [Original-Ausstellungsplakat / original exhibition poster.]
o.J. [3 Warenabbildungen] (Eberhard Strauß, deutscher Architekt, tätig um 1929 in Dortmund, Mitglied der Deutschen Architektenkammer).
Référence libraire : 66094CB
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STRIMPL Louis
L'Encens, le cinname et la myrrhe (pl.1, La Gazette du Bon ton, 1914 n°1)
- 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
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STRIMPL Louis
Le Bel Eté. Robe de lingerie pour la campagne (pl.3, La Gazette du Bon ton, 1913 n°9)
- 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
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STRIMPL Louis
Le Bel été. Robe de lingerie pour la campagne. (La Gazette du Bon ton, n°9. Année 1913 - Planche III )
- 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
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STRUGALLA JOHANNES (né en 1943)
Mainzer Plakatgedichte (1984-1990) n°5
affiche Affiche 700x485mm. Impression typographique en bleu, jaune et rouge (couleurs du carnaval de Mayence). Texte inédit. (102988)
Référence libraire : 102988
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Stubica, Gabrijel (1913-1990)
XIVèmes jeux olympiques d'hiver Sarajevo 1984, Yougoslavie - XIV Olympic Winter Games - XIV zimske olimpijske igre.
Sarajevo, Yugoslavie - Yugoslavia - Jugoslavija, 1984. Offsetdruck. Grösse: 85 x 62 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, 438DG
Référence libraire : 438DG
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Studio Mingozzi Bologna (disegnato da
Grande concorso Agipgas. Il gas liquido del sottosuolo italiano.
Grande manifesto a col. in offset, cm.100x70. Timbro di affissione pubblicitaria in alto. Qualche strappetto restaurato al marg. sup.
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Sturges, John
7 secondes en enfer
1967 60 x 80 LA LOI DU TALION : Affiche originale (1967) du film 7 secondes en enfer. John Sturges livre sa vision définitive et brutale de la légende de Wyatt Earp. Une composition visuelle d'une force rare, capturant le face-à-face implacable entre James Garner et Jason Robards. Présentée dans un état exceptionnel, cette affiche est un hommage à la puissance du western psychologique et à la détermination souveraine de ceux qui font leur propre loi.
Référence libraire : LCI-6605
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Stäger Fritz, texte allemand de Joseph Hanhart "mit Seitenblick au Friederich Schiller", texte français Anne Perzoff:
Affiche pour le 700e anniversaire de la Confédération.
Sérigraphie Humbert-Droz, 1991. Affiche sérigraphiée grand format, faisant partie d'une série réalisée par des dessinateurs du cru (toutes au format d'environ 70 x 100 cm.) célébrant à leur manière le 700e anniversaire de la Confédération suisse (1991, vous en souvient-il?).
Référence libraire : 3213
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STÄMPFLI
Galerie Lelong in Paris 1988. Mit Widmung : Freundschaftlichst für Reto Casutt, (Signiert:) Stämpfli.
50x72.5 cm.
Référence libraire : 1711.1aaf
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Stéen, Denis
Holzschnitte und Holzstiche. Galerie Art+Vision, Bern. [Ausstellungsplakat / exhibition poster].
o.J. (Denis Stéen, geb. 1929 in Östhammar, Schweden, schwedischer Maler und Graphiker. 1952 bis 1956 Studium an der Valand-Ku
Référence libraire : 66606CB
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Stéphane Marchetti
Affiches 1939-1945 . Images d'une certaine France
France Loisirs . 1982 . Préface d'Alain Weill . Jaquette illustrée
Référence libraire : 1537
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Stéphane Marchetti
Affiches. 1939-1945. Images d'une certaine France.
France Loisirs / Edita. 1982. In-4. Relié. 178 pages augmentées de nombreuses illustrations en noir et blanc et couleurs dans et hors texte. Texte sur deux colonnes. Avec Jaquette. Classification Dewey : 940.53-Seconde Guerre mondiale 1939-1945 Préface d'Alain Weill Classification Dewey : 940.53-Seconde Guerre mondiale 1939-1945
Référence libraire : his11m ISBN : 272422972
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SUISSE. TOURISME. AFFICHE. BROOKSHAW (Percy Drake).
"Lausanne".
1955 Affiche titrée signée en bas à droite, Suisse, tirage Offset, (1955), 100 x 62 cm.
Référence libraire : 24190
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SUMMERS (Carol)
THE NEW YORK PUBLIC LIBRARY. 1974.
Affiche originale. ASTOR LENOX and TILDEN FONDATION. 1974. Impression en sérigraphie sur papier métallisé. En anglais, espagnol, hébreux, arabe et chinois. Dim: 610 x 777.
Référence libraire : 3069
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SUMMERS (Carol)
THE NEW YORK PUBLIC LIBRARY. 1974.
Affiche originale. ASTOR LENOX and TILDEN FONDATION. 1974. Impression en sérigraphie sur papier métallisé. En anglais, espagnol, hébreux, arabe et chinois. Dim: 610 x 777.
Référence libraire : 3069
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SUPERLEAGUE POOL VENDEE
"""Les 4 jours du Billard Anglais"". Les Herbiers - les 14 - 15 - 16 - 17 avril 2006"
***. 2006. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Affiche en couleurs de 40 / 60 cm.. . . . Classification : 300-Affiches Divers
Référence libraire : RO80078838
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SURBEK, Viktor:
Bern- Loetschberg -Simplon.
1959, 102 x 64 cm, Farbig-Offsetdruck - Affiche. illustrated poster (40,32 x 25,30 inch). (Encadrement sous verre).
Référence libraire : 133332aaf
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SURDIVES ET DESJARDIN. (Affiche).
Hôtel de la Pomme de Pin. Grande Rue St Jean N°24 tenu par Maubant, Rouen. Table d'hôte. Déjeuner à 10 heures - Dîner à 4h 3/4. Cet Hôtel, fréquenté de temps immémorial par les Commerçants, est également bien situé pour les promeneurs. Il est dans le centre de la ville, à proximité de tous les bureaux de Diligences, du Palais de Justice et des principaux monuments.
Rouen, 1842. Superbe affiche lithographiée, en couleurs (ivoire, rouge et bleu) par Nicétas Périaux (29cm x 24 cm), avec des motifs or en écoinçon. Parfait état dans un encadrement noir à liseré or (postérieur) en excellent état.
Référence libraire : 20960
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SURVAGE (Leopold Frédéric Léopoldovitch Stürzwage, dit Léopold).
Survage, Peintures 1916-1965. Au Pont des Arts, Galerie Lucie Weill, 6 rue Bonaparte - Paris VI. Du 4 au 28 mai 1965.
Affiche originale de l'exposition imprimée en lithographie par Mourlot (48/64 cm). Bon état.
Référence libraire : awd-200
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SUSAN ANSPACH - ERLAND JOSEPHSON - PER OSCARSSON
AFFICHE DE CINEMA - LES FANTASMES DE MADAME JORDAN - MONTENEGRO
DUSAN MAKAVEJEV. Non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Affiche de cinéma 120 cm x160 cm. Présenté par Bo Jonsson.. . . . Classification : 0-Affiches Cinéma
Référence libraire : R100000005
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SUSKIN, Steven
A Must See ! Brilliant Broadway Artwork.
Chronicles Books, San Francisco 2004 In-4, broché, couv. illustrée rempliée, illustrtions en couleurs, 156 pp. En anglais. Très bon état d’occasion.
Référence libraire : 20662 ISBN : 811842177
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Suter Daniel:
Piscis helveticus, max. 700 ans.
Sérigraphie Humbert-Droz, 1991. Affiche sérigraphiée grand format, faisant partie d'une série réalisée par des dessinateurs du cru (toutes au format d'environ 70 x 100 cm.) célébrant à leur manière le 700e anniversaire de la Confédération suisse (1991, vous en souvient-il?).
Référence libraire : 3198
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SVENSKA AFFISCHER 1895-1979 UR P. LIPSCHUTZ SAMLING (Swedish Posters 1895-1979 from the P. Lipschutz Collection).
0710
Not in perfect condition. unknown
Référence libraire : Lipschutz, Paul
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Svolinsky, Karel
Plakat / poster: Karel Svolinsky. Klingspor-Museum. Offenbach am Main. Ausstellung vom 7.XII. 1965 bis zum 15.III. 1966.
o.J. Karel Svolinský geboren 1896 in Heiligenberg bei Olmütz in Mähren; gestorben 1986 in Prag. Tschechischer Maler, Graphiker und Buchillustrator.
Référence libraire : 44022BB
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Swann.
VINTAGE POSTERS. Public Auction Sale 2220. Wednesday August 4, 2010 at 2:00 PM.
(Codice BM/0750) In 8° (24 cm) Catalogo d'asta in lingua inglese, 387 splendidi maifesti illustrati a colori, molti a piena pagina. Prezzi in dollari. Brossura editoriale. Ottimo stato. ~~~ SPEDIZIONE IN ITALIA SEMPRE TRACCIATA
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Swarte
Tentoonstelling. Exposition. Swarte. Plaizier. Du 6 au 27 novembre 1982. Bruxelles. Signée.
Paris, 59/43 cm. Rousseurs en pied. Bon état.
Référence libraire : 53282
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Swarte Joost:
10 angsten - 10 angoisses.
Brussel/Bruxelles Plaizier. Affiche au format 25 x 48, à l'état de neuf.
Référence libraire : 3013
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Swarte Joost:
Affiche pour l'Exposition "Architectures de bande dessinée".
Institut français d'Architecture, 1985. Affiche au format 42 x 59 cm. Pliée en 4.
Référence libraire : 3410
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Swarte Joost:
Articulado - Un otono bienvenido.
Planche tirée de l'album Articulado (nous l'avons aussi !), au format 30 x 45 cm., en belle condition.
Référence libraire : 3634
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Swarte Joost:
Exposition Tentoonstelling.
Plaizier, 1982. Affiche au format 50 x 70 cm., à l'état de neuf.
Référence libraire : 3051
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Swarte Joost:
Museo articulado.
Planche tirée de l'album Articulado (nous l'avons aussi !), au format 30 x 45 cm. Très léger pli au coin supérieur.
Référence libraire : 6790
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Swarte Joost:
Ochtendschemer.
Affiche au format 50 x 70 cm., à l'état de neuf.
Référence libraire : 3054
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Swarte Joost:
Planche de vignettes.
Planche de vignettes détachables, au format 33 x 46 cm.
Référence libraire : 3635
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Swarte Joost:
Swarte y su arte. Sevilla.
PMJ. Affiche au format 40 x 60 cm, à l'état de neuf.
Référence libraire : 2899
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Swarte Joost:
Toneelschuur.
Affiche au format 60 x 80 cm., à l'état de neuf.
Référence libraire : 3052
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Swarte Joost:
Toneelschuur.
Haarlem, sans nom, [1996]. Portfolio au format 48 x 43 cm., fond en métal, charnière en rondin de bois, premier plat de carton ajouré. 12 pages de textes (en néerlandais) et 4 sérigraphies, chacune numérotée et signée par Swarte.
Référence libraire : 9741
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Swarte:
Joost Swarte in Galerie Lambiek.
Amsterdam, Lambiek, 1990. Affiche au format 68 x 30 cm, à l'état de neuf.
Référence libraire : 2986
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Swissair. -
Airline - Swissair flight Zuerich - Tokyo.
Zürich, 1961. Poster - Offset printing. Illustration by Nikolaus Schwabe. 102 x 64 cm.
Référence libraire : 265DG
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Switzerland, [SUFFRAGE POSTERS]
Huge Swiss Women's Suffrage Poster 1966
Swiss women’s suffrage poster dating 1966 and measuring between 35.5 in and 50.5 inches. Women in Switzerland fought a very long battle for suffrage not receiving the right to vote until 1971. They were the last Western country to receive this right. Poster depicts a knight with a rose in his mouth voting in favor of the introduction of women's voting rights at the cantonal level. The poster states in German "We Baslers are chivalrous and agree for our women." Impressive size and in very good condition. unknown
Référence libraire : 19350
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Switzerland, [SUFFRAGE POSTERS]
Huge Swiss Women's Suffrage Poster 1959
Swiss woman’s suffrage poster dating 1959 and measuring between 35.5 in and 50.5 inches. Women in Switzerland fought a very long battle for suffrage not receiving the right to vote until 1971. They were the last Western country to receive this right. Depicts a gentleman with lipstick on his cheek voting yes for women's rights. Above him in German "Women's Rights." Impressive size and in very good condition. unknown
Référence libraire : 19349
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Switzerland, [SUFFRAGE POSTERS]
Huge Swiss Women's Suffrage Poster 1954
Swiss women’s suffrage poster dating February 1954 and measuring between 35.5 x 50.5 inches. Women in Switzerland fought a very long battle for suffrage not receiving the right to vote until 1971. They were the last Western country to receive this right. The poster depicts a cheerful young boy stating in German "My mother is going to vote." Impressive size and very good condition. unknown
Référence libraire : 19348
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Switzerland SUFFRAGE POSTERS
4 Large Swiss Women's Suffrage Posters
Archive of 4 very large female empowerment posters dating from 1944 to 1966. Swiss women's suffrage posters dating 1946 1954 1959 and 1966 each measuring between 30.5 in and 50.5 inches. Women in Switzerland fought a very long battle for suffrage not receiving the right to vote until 1971. All the posters included in this archive demonstrate that women were equally capable to men in the workforce and thus equally deserving and entitled to the rights of citizenship. All 4 posters in very good to fine condition. A pictorially stunning set.<br/><br/>1. Swiss Women's Suffrage: Vote Yes posters. c. 1946. Very large original Swiss women's rights suffrage poster depicting three Strong women marching with purpose in front of three men. In German it states "Women's Rights: Yes. Same Duty Same Right." Impressive size 35.5" x 50.5." Very good condition. <br/><br/>2. Swiss Women's Suffrage: Vote Yes posters. Februar 20-21 1954. Very large original Swiss women's rights suffrage poster depicting a cheerful young boy stating in German "My mother is going to vote." Very large. 35.5" x 50.5." Very good condition. <br/><br/>3. Swiss Women's Suffrage: Vote Yes posters. c. 1959. Very large original Swiss women's rights suffrage poster depicting a Gentlemen with lipstick on his cheek voting yes for women's rights. Above him in German "Women's Rights." Impressive. 35.5" x 50.5." In very good condition.<br/><br/>4. Swiss Women's Suffrage: Vote Yes posters. c. 1966. Very large original Swiss women's rights suffrage poster depicting a knight with a rose in his mouth voting in favor of the introduction of women's voting rights at the cantonal level. The poster states in German "We Baslers are chivalrous and agree for our women." Very large. 35.5" x 50.5." Very good condition. unknown books
Référence libraire : 15976
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Swolfs:
Prince de la nuit - Couverture DBD.
Affiche au format 30 x 40 cm., à l'état de neuf.
Référence libraire : 3100
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Swolfs:
Prince de la nuit - Couverture DBD.
Affiche au format 30 x 40, en belle condition.
Référence libraire : 3621
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Sykes, Peter
Une fille pour le diable
1976 60 x 80 LE PACTE DE L'OMBRE : Affiche originale (1976) du film Une fille pour le diable. Peter Sykes dirige le duel final entre Richard Widmark et l'inoubliable Christopher Lee dans ce chef-d'œuvre occulte des studios Hammer. Une composition visuelle saisissante, marquant les débuts de Nastassja Kinski. Présentée dans un état exceptionnel, cette affiche est un vestige fascinant de l'âge d'or du fantastique britannique.
Référence libraire : LCI-6564
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SYLVESTER STALLONE - BILLY DEE WILLIAMS
AFFICHE DE CINEMA - LES FAUCONS DE LA NUIT
BRUCE MALMUTH. 1981. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 11 photos de présentations 21 x 27cm.. . . . Classification : 0-Affiches Cinéma
Référence libraire : R100000488
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SYLVESTRE (Ysraël).
Profil de la Ville de Rouen.
Israël Sylvestre en bas à gauche, Cum privilegio Regis à droite, s.d. (circa 1650). Grande vue (590 x 350 mm) sur vergé fort, trace de pliure au centre, bon état.
Référence libraire : 19842
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SYNDICAT MAISON VERGER DELPORTE
CONTRE LA RÉPRESSION PATRONALE - ORGANISONS LA LUTTE
Affiche originale. 1968. Impression en sérigraphie. Dim : 709 x 487 mm.
Référence libraire : 3860
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SYNDICAT MAISON VERGER DELPORTE
CONTRE LA RÉPRESSION PATRONALE - ORGANISONS LA LUTTE
Affiche originale. 1968. Impression en sérigraphie. Dim : 709 x 487 mm.
Référence libraire : 3860
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