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2024réf. 14036London: CHEERIO Publishing 2024. 1st Edition 1st Printing. Hardcover. New/No Jacket. 1st Printing. Signed to the title page. Unread new copy. CHEERIO Publishing hardcover
1984réf. 1212482PN. New. 1984. Reprint Edition. Soft Cover. Date is copyright date; this is a later reprint edition . PN paperback
1997réf. 1-0920151213Sound & Vision Pub Ltd 1997. Paperback. New. 96 pages. 9.25x6.25x0.25 inches. Sound & Vision Pub Ltd paperback
1991réf. Q-0920151035Firefly Books Ltd 1991-02-01. Paperback. New. In shrink wrap. Looks like an interesting title! Firefly Books Ltd paperback
réf. 16222871-nnew. unknown
réf. 16222871like new. unknown
réf. 614408772Earthscan Publications Ltd. . Hardback. New. pp. 216 1st Edition Earthscan Publications Ltd. hardcover
2012réf. x-1849713499Earthscan / James & James 2012. Hardcover. New. 1st edition. 204 pages. 8.58x5.83x0.67 inches. Earthscan / James & James hardcover
2012réf. x-1849713537Earthscan / James & James 2012. Paperback. New. 1st edition. 204 pages. 8.46x5.59x0.47 inches. Earthscan / James & James paperback
2012réf. DADAX1849713499Routledge 2012-09-18. 1. hardcover. New. 5.50x0.75x8.75. Buy with confidence. Excellent Customer Service & Return policy. Routledge hardcover
réf. ria9781849713535_inpPaperback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; Published in 1989 Blueprint for a Green Economy presented for the first time practical policy measures for 'greening' modern economies and putting them on a path to sustainable development. This new book written by two of the Bluepr paperback
réf. A9781849713535Paperback / softback. New. Update to: Blueprint for a green economy / a report by David Pearce Anil Markandya Edward B. Barbier for the UK Department of the Environment. 1989. paperback
2021réf. 179363534X-2-34996497Lexington Books 2021-10-06. hardcover. Very Good. 5x0x9. Lexington Books hardcover
réf. Bloomsbury-9781793635365Lexington Books. Paperback. New. 200 pages Lexington Books paperback
réf. Bloomsbury-9781793635341Lexington Books. Hardback. New. 276 pages Lexington Books hardcover
réf. Bloomsbury-9781793635365Lexington Books. Paperback. New. 200 pages Lexington Books paperback
réf. Bloomsbury-9781793635341Lexington Books. Hardback. New. 276 pages Lexington Books hardcover
réf. 43085795-nnew. unknown
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2007réf. SONG0533149819Brand: Vantage Press 2007-01-01. First Edition. hardcover. Used: Good. 5.78x0.89x8.14. Buy with confidence. Excellent Customer Service & Return policy. Brand: Vantage Press hardcover
réf. 0533149819.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1921réf. 57545Paris: Lucien Vogel éditeur 1921. Fine. Lucien Vogel éditeur Paris 1921 18 x 24 cm une feuille original print in color printed on laid paper signed lower left on the board. Original content produced for the illustration of The Gazette fashionable one of the finest and most influential twentieth century fashion magazines celebrating the talent of creators and artists French burgeoning art deco. Famous fashion magazine founded in 1912 by Lucien Vogel The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920 due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication these luxury publications ""are for bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""good Gazette of tone"" in the fashion dictionary 2016. Printed on fine laid paper they use a typeface created specifically for the magazine by Georges Peignot the Cochin character taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil enhanced color and some outlined in gold or palladium. The adventure began in 1912 when Lucien Vogel man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff John's sister the father of Babar Gazette good tone in which the subtitle is then ""Art fashions and frivolities."" Georges Charensol quotes the editor: ""In 1910 he observed there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists . I was certain of success because no country for fashion can compete with France. """" A great art editor. Lucien Vogel ""in Literary News No. 133 May 1925. The success of the magazine is immediate not only in France but also the US and South America. Originally Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux Léon Bakst Benito Boutet de Monvel Umberto Brunelleschi Chas Laborde Jean-Gabriel Domergue Raoul Dufy Edward Halouze Alexander Iacovleff Jean Emile Laboureur Charles Loupot Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel appealed to them will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette. The boards highlight the dresses and sublime seven artists of the time: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless some of Illustrations contained no real model but only the idea that the illustrator is done in the fashion of the day. Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit it brings together for the first time the great talents of the world of arts literature and fashion and imposed by this alchemy a new image of women slender independent and bold also driven by the new generation of designers Coco Chanel Jean Patou Rochas Marcel . Recovery in 1920 by Condé Montrose Nast Gazette fashionable modeled for the new composition and the aesthetic choices of the ""little dying newspaper"" that Nast had bought a few years ago: the Vogue magazine. Lucien Vogel éditeur hardcover
1921réf. 54878Paris: Lucien Vogel éditeur 1921. Fine. Lucien Vogel éditeur Paris 1921 18 x 24 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
1921réf. 54878Lucien Vogel éditeur | Paris 1921 | 18 x 24 cm | une feuille
1921réf. 57545Lucien Vogel éditeur | Paris 1921 | 18 x 24 cm | une feuille
