‎Posters‎

‎Shirow Masamune:‎

‎Compass.‎

‎Affiche au format 68 x 98cm., en très bel état.‎

‎Nous ne mettrons pas en ligne toutes nos affiches manga, mais une liste complète est en préparation : demandez-la ! 10 ans • 10 francs : à l'occasion de son 10e anniversaire, la Bergerie vous propose pour une période limitée une sélection d'ouvrages à 10 francs suisses. Plus d'informations sur la page d'accueil de notre site.‎

Bookseller reference : 3525

‎Sierra, Santiago‎

‎Haus im Schlamm. [Plakat] Kestner-Gesellschaft Hannover. 11. Februar - 10. April 2005.‎

‎Hannover., Kestner Gesellschaft., 2005. 84 x 59 cm., Umschlag Sehr gutes Exemplar.‎

‎Foto von Zwangsarbeitern bei Gleisbauarbeiten.‎

Bookseller reference : 33928AB

‎Signac.‎

‎Signac. Affiche éditée à l'occasion de l'exposition "Les Plaisirs de L'été" à la Galerie de Paris du 16 juin au 24 juillet 1965.‎

‎Une affiche de 50 x 70 cm; lithographie de Mourlot. Manqueà l'angle inférieur droit. Sinon bel état. Voir photo.‎

‎SIGNORINA, 10.000.‎

‎Locandina pubblicitaria per la commedia ungherese diretta da Béla Gaàl.‎

‎Manifesto litografico originale cm 204x98 intelato, perfettamente conservato.. .‎

‎Simon (Tschopp):‎

‎[Dodgers].‎

‎Sierre, Impression Rangé. Sérigraphie au format 70 x 50 cm., à l'état de neuf.‎

‎Tirage limité à 80 exemplaires numérotés et signés par Simon. 10 ans • 10 francs : à l'occasion de son 10e anniversaire, la Bergerie vous propose pour une période limitée une sélection d'ouvrages à 10 francs suisses. Plus d'informations sur la page d'accueil de notre site.‎

Bookseller reference : 3415

‎Simon:‎

‎Bankman - La tirelire volante vole au secours des petits épargnants.‎

‎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?).‎

‎10 ans • 10 francs : à l'occasion de son 10e anniversaire, la Bergerie vous propose pour une période limitée une sélection d'ouvrages à 10 francs suisses. Plus d'informations sur la page d'accueil de notre site.‎

Bookseller reference : 3202

‎Simon-Auguste.‎

‎Simon-Auguste. Affiche éditée à l'occasion de l'exposition à la Galerie de Presbourg du 8 novembre au 8 décembre 1960.‎

‎Paris à la Galerie 1960 1 Une affiche de dimensions 51 x 72 cm; impression offset des Imprimeries Artistiques.‎

‎Discrète fente au coin bas; Trace rousse en marge gauche, sinon bon état. Peu fréquente. Voir photo.‎

Bookseller reference : 15786

‎SIMEON‎

‎Le Retour des autans. Tailleur et Robe d'après-midi, de Doeuillet. (La Gazette du Bon ton, n°7 - Planche 55 )‎

‎- Lucien Vogel éditeur, Paris [circa 1920], 19,5x25cm, une feuille. - Original color print, printed on vergé paper, non signed. 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, non-signée. Gravure originale réalisée pour l'illustration de La Gazette du bon ton, l'une‎

‎SIMEON Fernand‎

‎Au bal noir et blanc. Manteau du soir (pl.25, La Gazette du Bon ton, 1921 n°4)‎

‎- Lucien Vogel éditeur, Paris 1921, 18x24cm, une feuille. - Original color print, printed on vergé paper, non signed. 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, non-signée. Gravure originale réalisée pour l'illustration de La Gazette du bon ton, l'une des plus b‎

‎SIMEON Fernand‎

‎La Lettre surprise (pl.3, La Gazette du Bon ton, 1920 n°1)‎

‎- Lucien Vogel éditeur, Paris Février 1920, 18x24cm, une feuille. - 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 originale en couleur rehaussée à l'or, tirée sur papier vergé, signée en bas à gauche de la planch‎

‎SIMEON Fernand‎

‎Vous avez vu ? Cette petite. Robe de promenade en Parquetine de Rodier. (La Gazette du Bon ton, n°4. Année 1920 - Planche 24 )‎

‎- Lucien Vogel éditeur, Paris 1920, 19,5x25cm, une feuille. - Original color print, printed on vergé paper, the signature does not let identify the artist. 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, la signature ne permet pas d'identifier l'artiste. Gravure orig‎

‎SIMON Lucien‎

‎"Les marguilliers" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎- L'Estampe Moderne, Imprimerie Champenois pour CH. Masson & H. Piazza, Paris (Décembre 1897), sujet : 35x27,5cm, planche : 55x40,8cm, une feuille. - Rare lithographie originale, exécutée par Lucien Simon pour L'Estampe Moderne, série numéro 8 publiée en décembre 1897. Une des 50 épreuves de grand luxe tirées sur Chine à grandes marges, signature de l'artiste dans la planche, timbre à sec de l'éditeur représentant un profil d'enfant en marge inférieure, contrecollée sur un feuillet de papier vélin avec au dos le tampon numéroté du tirage de luxe, pâles rousseurs marginales. Magnifique publication mensuelle française éditée entre mai 1897 et avril 1899, L'Estampe moderne se constitue de chromolithographies inédites qui, contrairement à d'autres revues comme Les Maîtres de l'Affiche et tel qu'il est stipulé sur les serpentes, ont été réalisées spécialement par chaque artiste pour la revue. Ce sont ainsi 100 estampes qui paraissent au total, couvrant les courants artistiques majeurs de la fin du XIXème siècle : Symbolisme, Art Nouveau, Préraphaélites, Orientalistes et Belle Epoque. Chaque livraison de quatre estampes est tirée à 2000 exemplaires vendus 3,50F et 100 sur papier Japon proposés à 10F. Henri Piazza prévoit également un tirage confidentiel de très grand luxe : 50 exemplaires sur Japon à grandes marges et 50 en noir sur Chine au prix considérable de 30F. Cette estampe d'un beau format est superbement imprimée sur l'un des plus prestigieux papiers : le Chine. « Malgré toutes ses qualités, le papier de Chine, trop inconsistant, doit sa réputation, non pas à sa propre beauté, mais bien à ses affinités particulières avec l'encre d'impression. Son tissu, lisse et mou tout ensemble, est plus apte qu'aucun autre à recevoir un beau tirage. Cette propriété fait rechercher le papier de Chine pour le tirage des gravures... » (Anatole France). L'intérêt des collectionneurs français pour les affiches artistiques s'amplifie au début des années 1890. Octave Uzanne, pour qualifier cette fièvre invente le terme d'« affichomanie ». L'affiche, à l'origine populaire et placardée dans les rues de la capitale, devient alors objet d'art et son support éphémère se fait précieux et voué à la conservation. Piazza décide de soustraire l'affiche à sa vocation publicitaire et de l'élever au rang d'œuvre d'art à part entière au même titre que le livre illustré de luxe. Il compose ainsi une collection prestigieuse d'œuvres entièrement originales, par les artistes européens les plus en vue du moment : Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc. Bel exemplaire. [ENGLISH DESCRIPTION ON DEMAND]‎

‎SIMON Mario‎

‎Les Soeurs jumelles. Robes trois voiles (pl.34, La Gazette du Bon ton, 1922 n°5)‎

‎- Lucien Vogel éditeur, Paris 1922, 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. La Gazette du bon ton, l'une des plus belle‎

‎SINE‎

‎1 LOT DE 8 DESSINS COULEURS‎

‎LIBRAIRIE ARMAND COLIN. non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 4 pages illustrées recto-verso de dessins en couleurs de Siney. Contenent : un enfant avec sa grand mère, un petit garçon, un enfant et un jouet, deux enfants devant un rosier, un enfant et une dame assise, un enfant tenant un bébé sur une chaire à bébé, un enfant qui coupe une rose.. . . . Classification : 0-Affiches Cinéma‎

‎"Extrait de ""Lecture Henry-Vielledent"". Classification : 0-Affiches Cinéma"‎

Bookseller reference : RO30085919

‎SINE.‎

‎Mort aux cons !‎

‎Fédération Anarchiste-Groupe Pierre Kropotkine, 2009. Affiche 60 x 40 cm. Impression en noir et rouge sur fonds blanc. Affiche dessinée par Siné éditée à l'occasion du Forum Social Libertaire, Salon du Livre Anarchiste. E.O.‎

Bookseller reference : L8082

‎SINE (Maurice SINET, dit).‎

‎Pour un "véritable" équilibre sexuel... Pour la M.N.E.F. votez U.N.E.F.‎

‎1968 Grenoble, Imprimerie COOP A.G.E., s.d. (1968), 1 affiche 560 x 380 illustrée en noir avec texte en rouge sur fond blanc.Légèrement froissée, papier très légèrement jauni, très bon état par ailleurs.‎

‎Rare affiche militante imprimée en offset, dessinée par Siné, en faveur de l'Union National des Etudiants de France (U.N.E.F.) pour les élections de la Mutuelle Nationale des Etudiants de France (M.N.E.F.) suite aux événements de mai 1968.‎

Bookseller reference : 12241

‎SINE & MATALON (Eddy).‎

‎T'inquiète pas, ça se soigne !‎

‎Affiche 52,5 x 39 cm. dessinée par Siné, pour le film T'inquiète pas, ça se soigne ! d'Eddy Matalon sorti en 1980, avec J.-M. Dupuis, B. Le Coq, Rosy Varte, H. Deschamps, etc. E.O.‎

Bookseller reference : L8085

‎Sire Denis:‎

‎Pontiac - Glamour.‎

‎Art Moderne. Affiche au format 70 x 50 cm., avec très légers frottements en bords (voir image).‎

‎10 ans • 10 francs : à l'occasion de son 10e anniversaire, la Bergerie vous propose pour une période limitée une sélection d'ouvrages à 10 francs suisses. Plus d'informations sur la page d'accueil de notre site.‎

Bookseller reference : 3584

‎SISSI SPACEK - HENRI THOMAS - SAM SHEPARD‎

‎AFFICHE DE CINEMA - L'HOMME DANS L'OMBRE‎

‎JACK FISK. Non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Affiche de cinéma 120 cm x160 cm. Une production de William D.Wittliff. - Burt Weissbourd.. . . . Classification : 0-Affiches Cinéma‎

‎Ecrit par William D. Wittliff.. Musique de Jerry Golddsmith. Produit par Burt Weissbourd et William D. Wittliff. Directeur de photo Ralf D. Bode. Classification : 0-Affiches Cinéma‎

Bookseller reference : R100000048

‎SITUATIONNISTES].‎

‎Misère de la révolution et révolution de la misère.‎

‎Strasbourg Sans nom, 12 décembre 1968 1968 1 vol. broché 1 feuillet dactylographié recto-verso. Tract strasbourgeois signé "Les Enragés" dénonçant la tiédeur de la dernière assemblée générale à la Faculté des Lettres.‎

Bookseller reference : 90689

‎SITUATIONNISTES].‎

‎On se fout de nous et ce n'est qu'un début...‎

‎Strasbourg sans nom 1968 1 vol. broché 1 feuillet dactylographié recto-verso, daté du 3 décembre 1968, non signé. Tract strasbourgeois en réaction à la loi Faure du 12 novembre.‎

Bookseller reference : 90688

‎SLAOUI (A.)‎

‎L'Affiche Orientaliste.‎

‎Un siècle de publicité à travers la collection de la Fondation A.Slaoui. Notices et coordination Abdelaziz Ghozzi. Nombreuses reproductions. Casablanca, Malika éditions, 1998. Grand in-4 (34x25cm) toile bleue éditeur sous jaquette illustrée. 143pp.‎

‎Bon état et l'orient à travers l'affiche.‎

Bookseller reference : WOC-1037

‎Slocombe Romain:‎

‎The reward.‎

‎Art Moderne, collection 22, sans date. Affiche au format 70 x 50 cm. Petite déchirure sans perte au bord inférieur.‎

‎10 ans • 10 francs : à l'occasion de son 10e anniversaire, la Bergerie vous propose pour une période limitée une sélection d'ouvrages à 10 francs suisses. Plus d'informations sur la page d'accueil de notre site.‎

Bookseller reference : 7010

‎SNOW Michael‎

‎Sept films et "Plus tard"‎

‎Paris Centre Georges Pompidou 1978 In-4 Dépliant‎

‎Catalogue-affiche de cette exposition organisée du 13 décembre 1978 au 29 janvier 1979 .Textes de Dominique Noguez, Dominique Théberge et filmographie de l'artiste. Illustrations, reproductions et photogrammes en noir et en couleurs. Une fois déplié, le catalogue devient au verso une affiche de 93 x 64 cm. >>>> " Michael Snow, né en 1929 à Toronto (Ontario), est un peintre, un sculpteur, un cinéaste, un photographe plasticien et un pianiste de jazz canadien. Il est aussi connu pour les films d'animation qu'il a conçus. Dans les années 1950, il étudie la peinture et la sculpture, mais c'est par l'animation qu'il fera ses premiers pas au cinéma. Il continue la peinture et y expérimente les notions de cadre et bi-dimensionnalité. En 1956, Snow signe sa première exposition de films d'animation avec A to Z, qu'il décrit comme « deux chaises baisent ». Il orientera ensuite la plupart de ses travaux vidéo vers l'exploration lente de l'espace physique et temporel à travers une conception du cinéma comme sujet même du cinéma. En 1967, Michael Snow obtient le Grand Prix du quatrième Festival international du Film expérimental de Knokke-le-Zoute pour le film Wavelength (un zoom avant de 45 minutes dans un atelier jusqu'à une photo noir et blanc de vagues). Standard Time (1967) est basé sur un panoramique circulaire et Back and Forth (1969) est rythmé par l'alternance de panoramiques horizontaux et verticaux. Dans La Région centrale (1970-1971), la caméra, plus libre, à vitesses variables, balaie de manière circulaire ou dessine des spirales dans un désert. Le cinéaste travaille aussi la durée et la contemplation d'un espace fixe. Par exemple dans Rameau's Nephew by Diderot (1974). Ces expérimentations influenceront profondément la cinéaste Chantal Akerman." Commissaire : Mnam, Alain Sayag. >> Rare Très bon 0‎

Bookseller reference : 009715

‎SOCIETE GENERALE DES TRANSPORTS MARITIMES. BERJONNEAU (Jehan).‎

‎"Algérie, Espagne, Italie, Antilles, Sénégal, Amérique du Sud".‎

‎1955 Marseille, Imprimerie Romefort, c.1955, 99 x 61 cm., sérigraphie en couleurs signée en bas à droite.‎

‎Affiche réalisée par Berjonneau (Montmorillon 1890-1966 Paris) pour la Société Générale des Transports Maritimes qui sert l'Algérie, Espagne, Italie, Antilles, Sénégal, Amérique du Sud. Le paquebot Provence de la Compagnie de transports maritimes est devant ses différentes escales. La Compagnie créée en 1865 et disparue en 1974, . Peintre en bâtiment de formation, il réalisa de nombreux paysages et portraits. il fut sociétaire de la Société Coloniale des Artistes Français, des Indépendants, du Salon d'Automne et du Salon des Tuileries. Très légers plis et petites déchirures marginales.‎

Bookseller reference : 24107