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rif. 201954475X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
rif. A9781167694486New. unknown
rif. 0666979545.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
rif. B9781167694486New. unknown
rif. 2329286341.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
2010rif. DADAX1168169550Kessinger Publishing 2010-09-10. hardcover. New. 6.00x0.44x9.00. Buy with confidence. Excellent Customer Service & Return policy. Kessinger Publishing hardcover
rif. 1168169550.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
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rif. 0486429903.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1915rif. 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
1915rif. 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
1915rif. 51292Lucien Vogel éditeur | Paris 1915 | 37.60 x 24.20 cm | une feuille
1913rif. LBW-6170Eté 1915. 213 x 320 mm.
1915rif. 54705Lucien Vogel éditeur | Paris Eté 1915 | 36.50 x 24 cm | une feuille
1913rif. LBW-6169Eté 1915. 212 x 320 mm.
1988rif. 1215253PN. New. 1988. Reprint Edition. Soft Cover. Date is copyright date; this is a later reprint edition . PN paperback
1988rif. 783072PN. New. 1988. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
2002rif. 2-8815063323Il Mulino 2002. Hardcover. New. Italian language. 8.27x5.59x1.34 inches. Il Mulino hardcover
rif. 0815104197.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
2017rif. 2-8831726412Marsilio Editori Spa 2017. Paperback. New. bilingual edition. 176 pages. 10.75x8.25x0.75 inches. Marsilio Editori Spa paperback
rif. 54781978. Superbe catalogue très illustré. coté
rif. 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
rif. 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
2006rif. __8876247440Skira 2006. Hardcover. New. new title edition. 336 pages. 11.55x9.55x1.25 inches. Skira hardcover
2006rif. 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
