Saint Ange SimeonBiblio.com
2 915 résultats
réf. B9781165130382New. unknown
réf. 0483287148.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. w77-10Hardcover. Used - Like New. Year: 1951. New copy minor shelf wear. Free tracking provided. International shipping available. 5. hardcover
réf. 116823638X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0266422195.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0666330573.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1920réf. 54798Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris Septembre 1920 18 x 24 cm 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 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
1920réf. 43226Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris circa 1920 19.50 x 25 cm 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 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
réf. Is51Berghahn Books 2005 . hbk 232pp no dj as issued a new and unread copy Berghahn Books, 2005 unknown
1883réf. 024672Woodsville N.H.: Enterprise Printing House 1883. No Binding. Near Fine. VG in the original brown wrappers with a small corner chip end of spine. Quite an unusual NH town history format. This color variant is one of 5 I have seen in the past 30 yeas of collecting; Pink Red Yellow and this Brown. We currently have 5 in varying conditions mostly NF to AF. Enterprise Printing House unknown
1883réf. 022785Woodsville N.H.: Enterprise Printing House 1883. No Binding. Near Fine. About VG in the orignal light Lavender wrappers. Quite an unusual NH town history format and very scarce. 108 pages with 4 pages of ads in the rear. LHS stamp on top of rear cover. Minor wear and a small tear to the front cover spine is quite nice. NOTE: This variant is one of 5 colors I have seen in the past 30 yeas of collecting; Brown Red Yellow Pink and this Lavender. We currently have a few others in varying conditions and colors. Enterprise Printing House unknown
1883réf. 020093Woodsville N.H.: Enterprise Printing House 1883. No Binding. Near Fine. NF in the original brown wrappers with a small split at the spine & FC meeting edge. Quite an unusual NH town history format. This variant is one of 4 colors I have seen in the past 20 yeas of collecting; Brown Red Yellow and this Pink. We currently have 3 in varying conditions. Enterprise Printing House unknown
1888réf. BOOKS020162IBoston: Samuel E. Cassino. Nearly fine copy in the original decorated cloth. 1888. 1st. hardcover. Oblong 4to ca. 50 pp. Cover stamped in brown & gilt with embossed title; all edges gilt "The botanical drawings are by Lena J. Ringueberg adn were arranged and embellished with additions by F. Schuyler Mathews. The engraving was executed under the supervision of John A. Schoelch and Herbert F.W. Lyouns of the Aldine Engraving Co." . Samuel E. Cassino hardcover
1796réf. 357123Providence RI: Carter and Wilkinson. Good. 1796. Softcover. Disbound no covers. With half-title page "Mr. Doggett's Sermon" author's note on the reverse. Browned. Owner's name written on the half-title page. ; Approx. 4 1/2" wide by 7 3/8". Evans 30361. ; 24 pages . Carter and Wilkinson paperback
1967réf. 0908T626886AMS Press Inc. Good. 1967. Hardcover. Columbia Univ. Press 1950. Green cloth lightly marked edge worn. Tips bumped top tips blunted as if dropped. Not cracked.; Columbia University Studies In History Economics And Public Law No. 560; 420 pages . AMS Press, Inc. hardcover
2001réf. ntBing759NP018Rebus Inc 2001. Hardcover NO D. Used: Very good. 8x1x10. Prompt shipment with tracking. we ship in CLEAN SECURE NEW boxes Reference Works; Very good hardcover no dustjacket; tips bumped; clean pages; prompt shipping with tracking. Rebus, Inc hardcover
2011réf. 213130New York: Lowy Frame & Restoring Co 2011. Softcover. VG. Lightest touches of wear around the edges of wraps. Quarto. Softcover. Illustrated wraps. 1 volume unpaged : illustrations chiefly color ; 29 cm. Published in conjunction with an exhibition held at Julius Lowy Frame & Restoring Company New York Jan. 24-Apr. 15 2011./ Includes bibliographical references. Lowy Frame & Restoring Co paperback
2011réf. 213130New York: Lowy Frame & Restoring Co 2011. Softcover. VG. Lightest touches of wear around the edges of wraps. Quarto. Softcover. Illustrated wraps. 1 volume unpaged : illustrations chiefly color ; 29 cm. Published in conjunction with an exhibition held at Julius Lowy Frame & Restoring Company New York Jan. 24-Apr. 15 2011./ Includes bibliographical references. Lowy Frame & Restoring Co paperback books
1829réf. 2392Williamstown : Printed by Ridley Bannister 1829. First Edition. Pamphlet. Very good. 13p. removed. None in trade. Printed by Ridley Bannister unknown
1829réf. 2392Williamstown : Printed by Ridley Bannister 1829. First Edition. Pamphlet. Very good. 13p. removed. None in trade. Printed by Ridley Bannister unknown books
1958réf. 78455Moskva: Izd-vo Vostochnoi literatury 1958. Hardcover. Very Good. 398p. Corners bumped. No Jacket. Russian text. Izd-vo Vostochnoi literatury hardcover
1958réf. 78455Moskva: Izd-vo Vostochnoi literatury 1958. Hardcover. Very Good. 398p. Corners bumped. No Jacket. Russian text. Izd-vo Vostochnoi literatury hardcover books
2020réf. 198722Trinidad and Tobago: Independently Published 2020. First edition. Paperback. New. 103p. color plates photos wrps. Featuring a collection of recipes that showcases the multi-cultural heritage that is Trinidad and Tobago and the Caribbean. Independently Published paperback
réf. 1333597533.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
2007réf. DADAX1432678205Kessinger Publishing 2007-06-01. paperback. New. 6.00x1.39x9.00. Buy with confidence. Excellent Customer Service & Return policy. Kessinger Publishing paperback
