Barbier, HippolyteBiblio.com
2010ref. DADAX1168169550Kessinger Publishing 2010-09-10. hardcover. New. 6.00x0.44x9.00. Buy with confidence. Excellent Customer Service & Return policy. Kessinger Publishing hardcover
ref. 1168169550.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
ref. B9781168169556New. unknown
1866ref. R320139579Perisse Frères/Marchessou. 1854-1866. In-12. Relié demi-cuir. Etat d'usage, Coins frottés, Dos satisfaisant, Quelques rousseurs. 348 + 175 + 104 pages - plats et contre plats jaspés - coins, tranches et plats frottés - titre et filets dorés sur le dos.. . . . Classification Dewey : 370-Education
ref. 21709Orléans : Imprimerie moderne, 1912. Un volume in-8°, broché.
2004ref. TA260916061G94Dover Publications 2004-02-03. paperback. Very Good. 8x0x11. Paperback--excellent condition Dover Publications paperback
1915ref. 54705Paris: Lucien Vogel éditeur 1915. Fine. Lucien Vogel éditeur Paris Eté 1915 36.50 x 24 cm 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 2000 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 dart. 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 illustrators 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. Lucien Vogel éditeur unknown
1915ref. 51292Paris: Lucien Vogel éditeur 1915. Fine. Lucien Vogel éditeur Paris 1915 37.60 x 24.20 cm 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 2000 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 dart. 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 illustrators 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. Lucien Vogel éditeur unknown
1913ref. LBW-6169Eté 1915. 212 x 320 mm.
1913ref. LBW-6170Eté 1915. 213 x 320 mm.
1915ref. 51292Lucien Vogel éditeur | Paris 1915 | 37.60 x 24.20 cm | une feuille
1915ref. 54705Lucien Vogel éditeur | Paris Eté 1915 | 36.50 x 24 cm | une feuille
1988ref. 1215253PN. New. 1988. Reprint Edition. Soft Cover. Date is copyright date; this is a later reprint edition . PN paperback
1988ref. 783072PN. New. 1988. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
2002ref. 2-8815063323Il Mulino 2002. Hardcover. New. Italian language. 8.27x5.59x1.34 inches. Il Mulino hardcover
ref. 0815104197.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
2017ref. 2-8831726412Marsilio Editori Spa 2017. Paperback. New. bilingual edition. 176 pages. 10.75x8.25x0.75 inches. Marsilio Editori Spa paperback
ref. 71-4738Milan Italy: Skira Editore 2006. 4to. 325 pp. Hard Cover. Color and black and white plates throughout. Very Good. Minor rubs to the covers.Heavy volume could cost extra for shipping. Milan, Italy: Skira Editore, 2006. hardcover
ref. 71-4737Milan Italy: Skira Editore 2006. 4to. 325 pp. Hard Cover. Color and black and white plates throughout. Very Good. Minor rubs to the covers.Heavy volume could cost extra for shipping. Milan, Italy: Skira Editore, 2006. hardcover
2006ref. __8876247440Skira 2006. Hardcover. New. new title edition. 336 pages. 11.55x9.55x1.25 inches. Skira hardcover
2006ref. 72474Skira. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in English. 328 pp. With 554 ills. 16 col. . 30 x 25 cm. -- with a bonus offer-- . 2006. 8876247440 . Skira hardcover
1715ref. 24066Laval 1715 un document de 8 pages, broché manuscrit à l'encre brune sur papier vergé ligné et filigrané, format : 23,5 x 19 cm, manuscrit à l'encre brune, timbre royal imprimé en noir : "Généralité de Tours - 1 SOL - 4 deniers" , fait à Laval, LE 27 JUIN 1715, Signature manuscrite à l'encre brune TROIS (old document handwritted with brown ink - lined vellum paper made),
1999ref. 18393LES EDITIONS DU CABRI 1999 399 pages 15 8x2 2x24cm. 1999. Broché. 399 pages. HISTOIRES DE CANNES
ref. 54781978. Superbe catalogue très illustré. coté
1922ref. 84836Paris: Lucien Vogel éditeur 1922. Fine. Lucien Vogel éditeur Paris 1922 19.50 x 24.50 cm une feuille Text on double page by Vaudreuil illustrated with four original color prints finely heightened with palladium printed on laid paper signatures of George Barbier 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 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 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 outlined in gold or palladium. The adventure begins in 1912 when Lucien Vogel a 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: ""In 1910 he observes there existed no fashion journal that was truly artistic and 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 n°133 May 1925. The success of the magazine is immediate not only in France but also in the United States and South America. Originally Vogel thus 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 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 period: 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 demand 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 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 the 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
