19.013 Ergebnisse
1869- lib. générale, Paris 1869, 17x27cm, relié. - Edition originale. Reliure en demi veau caramel, dos à quatre nerfs légèrement passé orné de motifs typographiques dorés, pièce de titre de maroquin à grain long rouge, plats de papier marbré, gardes et contreplats de papier à la cuve, reliure de l'époque. Ouvrage illustré de 146 gravures en couleurs parfaitement conservées. Annotations manuscrites à la plume concernant l'ouvrage en sur une garde, bel état intérieur. Rare. [ENGLISH DESCRIPTION ON DEMAND]
1887Best.-Nr. 411400286Leipzig, J. G. Bach [1887-90]. Mod. HMaroquinband mit Goldschnitt und goldgepr. Deckeltitel, in Schuber. 4to. - Schönes Exemplar.
1876Cm. 30, pp. 500 ca. complessive. Con moltissime incisioni nel testo e 51 belle tavole a colori f.t. (anche a doppia pagina). Legatura coeva in mezza pelle. Poche tracce d'uso sparse, esemplare complessivamente genuino e ben conservato. Manca il fascicolo 49.
1860Cartella di cm. 26, con frontespizio e due suites di complessive 15 tavole incise in rame e finemente colorate. Cartella in cartoncino marmorizzato con dorso e laccetti recenti. Ottima conservazione. Bella ed elegante raccolta di disegni inediti di F. Compte-Calix incisi da Bracquet, Carrache, Ch. Geoffroy e Lacourrière. La prima suite raffigura prevalentemente personaggi in costumi storici, mentre nella seconda gli abbigliamenti possiedono piuttosto carattere simbolico e caratteristico (la vivandiera, Eva, la zingara, la campana, il maggio, fantasia spagnola, minerva, la fiorista, ecc...).
1860Cm. 31, raccolta di 20 tavole incise in rame e finemente colorate (ciascuna protetta da velina). Elegante legatura coeva in piena percallina decorata a secco e con titoli in oro al piatto. Ottima conservazione. Celebre ed affascinante suite raffigurante tipi svedesi nei loro principali costumi. Cfr. Lipperheide 1052.
1950Best.-Nr. 211751950. Archive of fashion photography documenting African American women's participation in commercial and editorial modeling from the 1950s through the 1980s a period in which the American fashion and advertising industries remained overwhelmingly centered on white beauty standards and limited Black representation in print media. Working in Cultural / Representational Mode the material illustrates changing presentations of Black femininity glamour and natural beauty across several decades of American fashion culture. The photographs provide visual evidence of evolving aesthetic conventions surrounding race cosmetics hairstyles leisure and commercial image-making during the postwar and Civil Rights eras. Particularly notable are several 1970s images depicting Black models with natural hairstyles and minimal cosmetic styling reflecting broader cultural shifts associated with Black pride movements and changing representations of African American identity in fashion and advertising imagery. Collection comprises 23 silver gelatin photographs and one color photograph produced by several professional photographers between the 1950s and 1980s. Images include editorial fashion shoots casting and publicity photographs scanned negatives and studio portraiture featuring predominantly Black women alongside several white models photographed by the same studios. Two 1970s editorial images depict a lean Black model with closely cropped natural hair posed in a leopard-print wrap. Four photographs focus specifically on Black women including close-up portraits emphasizing natural presentation and informal styling. One younger woman appears without visible makeup wearing a bandana and t-shirt while another is photographed in a straw hat with hoop earrings and patterned sash. Additional photographs include a Black model posed in a bikini atop the rim of a classical fountain featuring Aphrodite imagery. Four professional photographs and one casting card depict singer and actress Sylvia Vanderbeilt in commercial studio poses. Several scanned negatives portray a Black female model in multiple outfits and poses characteristic of 1970s fashion photography including one sequence featuring both the model and a young Black girl during apparent test shoots. The latest material consists of scanned negative strips from an apparent 1980s fashion session featuring a Black model with a sleek bob hairstyle modeling padded blazers and contemporary commercial attire. Other photographs depict white women in evening gowns fur wraps and casual mid-century fashions including two images by photographer Lee Brian showing the same model posed in mid-length evening gowns amid neoclassical architectural settings one with an elaborate mink shawl. Several photographs bear photographer or studio stamps on the verso including L.W. Ward of Cedar Rapids Iowa and Lee Brian of Palm Beach Florida. The archive traces substantial shifts in fashion photography and racial representation across three decades of American commercial imagery from heavily stylized mid-century glamour photography to the more natural aesthetics associated with 1970s fashion editorials and Black cultural self-presentation. The inclusion of both editorial and test photography offers insight into the production practices of commercial modeling studios as well as the visual conventions used in presenting Black women to advertising and fashion audiences during a period of gradual but uneven industry integration. Minor wear and light handling marks throughout; photographs otherwise remain in very good condition overall. A visually strong grouping documenting African American representation within postwar American fashion photography and commercial image culture. unknown
1950Best.-Nr. 211751950. Archive of fashion photography documenting African American women's participation in commercial and editorial modeling from the 1950s through the 1980s a period in which the American fashion and advertising industries remained overwhelmingly centered on white beauty standards and limited Black representation in print media. Working in Cultural / Representational Mode the material illustrates changing presentations of Black femininity glamour and natural beauty across several decades of American fashion culture. The photographs provide visual evidence of evolving aesthetic conventions surrounding race cosmetics hairstyles leisure and commercial image-making during the postwar and Civil Rights eras. Particularly notable are several 1970s images depicting Black models with natural hairstyles and minimal cosmetic styling reflecting broader cultural shifts associated with Black pride movements and changing representations of African American identity in fashion and advertising imagery. Collection comprises 23 silver gelatin photographs and one color photograph produced by several professional photographers between the 1950s and 1980s. Images include editorial fashion shoots casting and publicity photographs scanned negatives and studio portraiture featuring predominantly Black women alongside several white models photographed by the same studios. Two 1970s editorial images depict a lean Black model with closely cropped natural hair posed in a leopard-print wrap. Four photographs focus specifically on Black women including close-up portraits emphasizing natural presentation and informal styling. One younger woman appears without visible makeup wearing a bandana and t-shirt while another is photographed in a straw hat with hoop earrings and patterned sash. Additional photographs include a Black model posed in a bikini atop the rim of a classical fountain featuring Aphrodite imagery. Four professional photographs and one casting card depict singer and actress Sylvia Vanderbeilt in commercial studio poses. Several scanned negatives portray a Black female model in multiple outfits and poses characteristic of 1970s fashion photography including one sequence featuring both the model and a young Black girl during apparent test shoots. The latest material consists of scanned negative strips from an apparent 1980s fashion session featuring a Black model with a sleek bob hairstyle modeling padded blazers and contemporary commercial attire. Other photographs depict white women in evening gowns fur wraps and casual mid-century fashions including two images by photographer Lee Brian showing the same model posed in mid-length evening gowns amid neoclassical architectural settings one with an elaborate mink shawl. Several photographs bear photographer or studio stamps on the verso including L.W. Ward of Cedar Rapids Iowa and Lee Brian of Palm Beach Florida. The archive traces substantial shifts in fashion photography and racial representation across three decades of American commercial imagery from heavily stylized mid-century glamour photography to the more natural aesthetics associated with 1970s fashion editorials and Black cultural self-presentation. The inclusion of both editorial and test photography offers insight into the production practices of commercial modeling studios as well as the visual conventions used in presenting Black women to advertising and fashion audiences during a period of gradual but uneven industry integration. Minor wear and light handling marks throughout; photographs otherwise remain in very good condition overall. A visually strong grouping documenting African American representation within postwar American fashion photography and commercial image culture. unknown books
18611 vol. in8 reliure de l'époque demi-chagrin rouge, dos à 4 nerfs orné, tranches peignées, Librairie de Alphonse Leclère, Paris, 1861, 219 pp. avec 49 planches en couleurs sous serpente. Rappel du titre complet : Les Souvenirs et les Regrets du Vieil Auteur Dramatique ou Lettres d'un Oncle à son Neveu sur l'Ancien Théâtre Français Depuis Bellecour [ etc. ] Ouvrage orné de gravures coloriées, représentant en pied, d'après les miniatures originales, faite d'après nature, de Foëch de Basle, de Whirsker, ces différents acteurs dans les rôles où ils ont excellé. Exemplaire bien complet des 49 gravures hors texte finement coloriées (la tableannonce seulement 36 planches, la Bibliographie de la France 41, et Brivois indiquait bien 49 planches). Etat satisfaisant (rel. un peu frottée avec petits accrocs et mq. en coiffes et à un nerf, une mouill. en tête court le long de l'ouvrage, mais généralement discrète, voir les photos, petit défaut angulaire d'origine au feuillet de titre). Un document important pour l'histoire du costume de théâtre. Vicaire, I, 94-95 Français
1881Best.-Nr. 3047À Paris, Éditions Quantin, 1881-1882.
1950Best.-Nr. 64739Portland OR & ROckford DE: Jantzen Inc. Jantzen International Joseph Bancroft & Sons ca. 1950-1956. Fourteen pieces. 8vo. 5.75 x 9 in. 14 leaves unnumbered. on thick card stock each w/ hole punches or rivets in upper fore-edge. With 36 fabric samples sized from 2.25 x 2.25 in. up to 5.25 x 7.25 in. with the majority the larger size and two additional swimsuit fabric samples laid-in 11 of 14 clasped at upper left w/ original metal ring annotations some notes & cross-outs for pricing and inventory numbers but still an exceptional NF collection of sample cards from the library of Jantzen Co. founder John Adam Zehntbauer 1884-1969 who in 1910 had set up the Portland Knitting Co. with Carl Jantzen and C.R. Zehntbauer later becoming longtime President of the company. First editions of this exceedingly scarce series of Mid-20th-Century original swimsuit fabric sample cards providing essential visual and tactile connection with Jantzen’s groundbreaking swimwear textiles following World War II. By the 1950’s Jantzen had changed to Jantzen Inc. featuring designs for their swimsuits by such innovators as Louella Ballerino who emphasized their new fabrics for resort-ready swimwear. These splendid samples include original textiles and patterns incorporating their innovative stretchable form-fitting fabrics encompassing not only Calico-knit with Redmanized Cotton but also their sun-and-water tested Acetate Lastex Celanese Acetate with cotton and elasticized yarn Sanforized cotton Mercerized and Sanforized cotton and more. These patterns present a visual feast of Mid-Century-Modern colours and pattern influences from several cultures with brilliant reds blues startling Modern patterns and whimsical character-driven designs. The Everglaze cotton and several others were specially designed for Jantzen Inc. by the famed Joseph Bancroft & Sons So. mills in Delaware as well as other interrelated mills before being incorporated into their swim and leisure wear at the time. No similar surviving examples in Worldcat or other institutional holdings Hagley does hold a photo of Jantzen suit w/ sample; See: 1950s - Global Expansion and Resort Glamour Through the Decades the History of Jantzen Swimwear 2025; Trudy Chin Jantzen Collaboration Between Design & Advertising in the Jantzen Bullpen Portland Design History 2025. Jantzen Inc., Jantzen International, [Joseph Bancroft & Sons], unknown
1940Best.-Nr. 61451New York: Cohama Cravats United Merchants & Manufacturers 1412 Broadway 1940. Atlas folio. 13 x 18 in. 34 pp unpaginated. printed on thick tan paper stock with 21 different tipped-in advertising promotional samples including camera-ready newspaper ads sample window & counter display cards and folded promotional brochures for mailing each to be imprinted with the retailer’s name order book tucked into rear pocket mounted on last leaf. Tan boards plastic-comb binding to spine minor bumping to couple corners some dustsoiling minor chipping to foot of spine still a VG bright exemplar. First edition of this exceedingly scarce sales and advertising catalogue designed to present the 1940 plan by the company for their $ 1.00 men’s cravat ties. Featured are the proposed newspaper ad lines for the six different Cohama Cravats in the Spring & Summer including the Briar Bahama Camelot Rangoon Gamester and Seminole. American tie manufacturing emerged as a significant force at the end of the Jazz Age and through the 1930’s as their popularity grew world wide for their heavy use of colours vivid patterns and breaking away from the more sedate colour palate of the British tie industry. Contributing to the explosion of tie manufacturing in the 1930s and 1940s were the need by many men during the Great Depression and then the War years to change their fashion look by adding a decorative tie rather than buying a new suit or set of clothes. The Duke of Windsor heavily influenced ties styles and wearers by not only developing the Windsor knot but also wearing them with many different types of clothing. Cohama was a trademark of United Merchants which was a textile firm originally founded in 1912 as the Cohn-Hall-Marx Co. merging with United Merchants in 1928 and later clothing chains across the East and South through World War II. No copies located in Worldcat; See: Gibbings The tie trends and traditions 1990. Cohama Cravats, United Merchants & Manufacturers, 1412 Broadway, hardcover
1953Best.-Nr. 58213Seattle WA: Nancy Paine ca. 1953-54. Twenty-one original fashion design watercolour paintings all oblong folio 9 sized 15 x 12 in.; 12 sized 18 x 15 in. 1 is painted title only many of them signed by Nancy down in lower corner 1 graded and reviewed by teacher several with neat cursive annotations some curling minor edgewear to corners some toning still VG set with the 2nd set retaining the original portfolio cover sheet. These original watercolour fashion designs reflect the 1950’s emphasis on full circle skirts swing skirts pencil skirts tea length dresses and fitted tight waist blouses reflecting the influence of Christian Dior towards increased femininity in the post-World War II era. For the College Coed portfolio our young artist has included designs for Capri pants lingerie fitted wool dresses flowing “poodle” skirts bathing suits tennis outfit ice skating clothing riding outfits and evening wear. The second portfolio incorporates diamond pattern one-piece bathing suits terrycloth robes different evening weather and nighttime negligee. Although young Miss Paine would not go onto becoming a commercial artist she did work as office manager for many years for the Simpson Lumber Company. Nancy Paine, hardcover
Best.-Nr. 1204Atelier ABC. VM editions .1983, Imprimerie lithographie. Impression offset. Dim: 105 x 70,3 cm.
Best.-Nr. 1204Atelier ABC. VM editions .1983, Imprimerie lithographie. Impression offset. Dim: 105 x 70,3 cm.
1962gr. vol. in folio, leg. t. tela edit. con sovracop. Imp. studio in cui attraverso 913 figg. l'A. esamina le varie tipologie di acconciature maschili, femminili, antiche, medievali, moderne, di gala, di casa, da passeggio, da serata, per il teatro, per il giardino, etc... Il più imp. e completo studio sull'argomento. [107/7]
Best.-Nr. 104897affiche Affiche 1440x1020mm, impression offset à grosse trame encouleurs sur papier glacé.Pliée dans l’enveloppe d’expédition originale au signe de lamarque, cachet postal du 15-04-91.(104897=
1945Pubblicazione in folio, pagine non numerate, di dimensioni 33 x 26 cm circa. La copertina, con una splendida litografia a colori di Christian Bérard, contiene, al suo interno, i diversi fascicoli sciolti che, per scelta editoriale, si presentano non rilegati insieme. Con 7 bellissime tavole litografiche di Valentine Hugo, Henri Matisse, Marie Laurencin, Touchagues, Pablo Picasso, Fougeron e Jean Effel. E' presente, altresì, una litografia dedicata al profumo "Cour-Joie" di Nina Ricci. Album a tiratura limitata, esemplare numerato "Il a été tiré de cet album deux mille exemplaires numérotés de I a 2.000 / Exemplaire N° 1418". "Cet album a été achevé d'imprimer sous la direction artistique de Boris Kochno le 3 décembre 1945 a l'occasion des trois soirées organisées par l'UNION NATIONALE DES INTELLECTUELS sous le patronage de M. Jaujard". Stato di conservazione: La copertina (con la stampa litografica a colori di Bérard) presenta alcune pieghe (sul piatto antreiore, vicino al dorso, sulle estremità e sugli angoli e sulla linguetta anteriore sulla quale è stampata la giustificazione della tiratura), e qualche piccola macchiolina marrone; una leggera (e appena accennata) incurvatura (verso l'alto) del margine inferiore dell'album ma, nel complesso, un buon esemplare. Completo. Privo di scritte o firme dìappartenenza. Bellissime le tavole (per lo più a piena pagina). Edizione originale. Opera di prestigio, da collezione.
2013Best.-Nr. 1034302013 Stromboli, octobre 2013, 270x225mm, , 76p., en feuilles sous couverture imprimée et étui muet de l’éditeurEdition originale tirée à 1000 exemplaires édité à l'occasion de la rétrospective du photographe à Fotografiska, Stockholm en 2013. Envoi autographe signé daté du 15 novembre 2013. Etat neuf.(103430)
1978Best.-Nr. 2092902138901163Not Available 1978. Soft Cover. Fine. The book is in fine condition. Not Available paperback
1930Cartella di cm. 39 x 27, pp. (2) d'introduzione + 20 tavole in fine coloritura a pochoir, ciascuna protetta da velina protettiva. Cartella originale con illustrazione a colori applicata al piatto, titoli stampati in argento e laccetti di chiusura. Esemplare fresco e genuino, in ottimo stato di conservazione. Affascinante suite, non comune quando completa ed in perfetto stato come il presente esemplare.
1965This is a very good hardcovder copy in a very good dust jacket with only light wear. Signed and inscribed, by the author, Joseph McMullan, on the half title-page, and dated 1970, at the Metropolitan Museum. The Joseph McMullan Collection of Islamic Carpets was considered one of the finest private collections ever assembled. This book is a suitable tribute to that spectacular collection. The color plates are stunning. Many gate-fold plates. Foreword by Ernst J. Grube, Curator, Department of Islamic Art, Metropolitan Museum. Brief bibliography. 152 textiles catalogued in this book. 12" high X 9" wide, 385 pages. All illustrated, many in color. A few small flaws: two short closed tears to edges of the jacket, the inside blank front jacket flap is creased vertically. A beautiful signed copy of this important book. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
1988This is a fine hardcover copy in a very good or better dust jacket with only light wear. This is the GERMAN text edition. This copy has been signed in ink, by Issey Miyake, on the page facing the title-page, underneath the black silhouetted figure.Signed and briefly inscribed and dated 1988, in Issey Miyake's large distinctive hand. Originally prepared to accompany the exhibition in Paris at the Musee des Arts Decoratifs in the fall of 1988. Foreword by Isamu Noguchi. Edited by Nicholas Callaway. All photographs by Irving Penn. Illustrated in color with 46 full page plates + a portrait of Issey Miyake in black & white + 46 smaller black & white photographs (reproducing the color plates) with information on each piece: materials, dare, etc. Biographical sketch. Statement by Miyake. 12" high X 10" wide. A beautiful signed copy. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
Best.-Nr. 7436Rennes, Imprimerie "Les Nouvelles de Bretagne", Laboratoire d'Anthropologie, 1953 - 1961. 240 x 156 mm, I : 67 pp., XXI cartes n/b, ill. n/b en pleine page, XV planches d'ill. n/b en pleine page, II : 120 pp., 125 fig. n/b in-texte et en pleine page, 1 carte n/b double page, 66 cartes n/b sur (25) ff., (2) f., III : 111-(1) pp., IX cartes n/b et en pleine page, 82 fig. n/b in-texte et en pleine page IV : 143-(1) pp. fascicule add. : 71-(1) pp., 33 fig. n/b in-texte. Reliure demi-basane, dos à faux-nerfs, dos légèrement insolé, 2 discrets ex-libris manuscrit au crayon gris, très bel état.
2003Best.-Nr. __9058095665Aa Balkema 2003. Hardcover. New. 1st edition. 460 pages. 9.75x7.25x1.25 inches. Aa Balkema hardcover
1911Cm. 35, pp. 158 complessive. Bell'antiporta figurata, molte illustrazioni fotografiche applicate alle carte e 78 tavole fuori testo. Leg. edit. in tela blu con titoli in oro. Taglio di testa dorato. Carte a tratti un po' fiorite e la tavola applicata n. 63 riprodotta, ma complessivamente saldamente legato ed in buono stato di conservazione. Stampato su carta forte. Opera celebre e ricercata, una delle più classiche ed autorevoli sull'argomento. La trattazione si divide in quattro capitoli principali dedicati a: Venezia, Genova, Milano, Abruzzi.
