Potter, SimeonBiblio.com
2868 resultados
ref. 023396648X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1995ref. BIBRR1118810771995. Hardcover. New. THIS RARE/ANTIQUE BOOK PUBLISHED IN THE YEAR 1995 BY K.B.Publications HAVING 418 PGS AND SIZE 8.755.75 WRITTEN IN English. THE BOOK IS IN READABLE CONDITION Originally in Hardcover with some issues like loose binding and some Pin Holes. The book is having B/W Maps. THE IMAGE OF THIS BOOK IS GIVEN FOR YOUR REFERENCE. WE CAN REBIND THE SAME IN LEATHER BINDING FOR EXTRA $ 25. hardcover
ref. 0520283341.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
ref. 2705691421.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1856ref. 100478Lebanon Ohio: Printed at the Western Star Office 1856. 1856. Fair. - Octavo 10 inches high by 6-3/4 inches wide. Softcover bound in printed tan wraps titled within a decorative ruled frame in black on the front cover. The covers are stained and heavily chipped with pieces out from corners of the front cover. The rear cover is partially detached and the spine has perished. 61 pages with the text printed in 2 columns. The book is folded vertically down the center and the edges of the pages are darkened. The corners of several pages are creased and a few are slightly chipped. Good. First edition. The 1855-56 trial for heresy of one of its most popular pastors the Rev. Simeon Brown was the most memorable event in the history of the First Presbyterian Church of Lebanon's history. Held at the Church in front of the Miami Presbytery Rev. Brown was charged with unsoundness of faith for denying the doctrine of limited atonement. His beliefs which were cited in the charges included those that "Christ gave his life for the world and it is absurd to limit the word world to the elect." The Presbytery found him guilty and Rev. Brown subsequently wrote in his defense that "I maintained that our Lord Jesus Christ is a Savior provided for and sincerely offered in the Gospel to all who hear it but the Presbytery held that He is provided for the elect only." Found guilty of this one charge the sympathy of the public was chiefly with him and the members of his church were mostly on his side. Rev. Brown chose to separate from the Presbyterian Church and the trial led to the formation of the Lebanon Congregational Church. Lebanon, Ohio: Printed at the Western Star Office, 1856. paperback
1796ref. 6079Providence 1796. Half title contemporary plain wrappers stitched loose. 24pp untrimmed. Very Good. Dedicated to the students of Rhode Island College where Doggett was an instructor. FIRST EDITION. Evans 30361. unknown
1796ref. 6079Providence 1796. Half title contemporary plain wrappers stitched loose. 24pp untrimmed. Very Good. Dedicated to the students of Rhode Island College where Doggett was an instructor. FIRST EDITION. Evans 30361. unknown books
ref. 75-1387Paris FR: Ch. Gavard 1838. f. Gravure. Very Good. 1pp. Black and white plate. From the book Galleries Historique De VersaillesText in French. Paris, FR: Ch. Gavard, 1838 unknown
2013ref. Gyan-9789332898912Isha Books 2013. Hardcover. New. 22.59 x 14.34 x 6.28 cm. English Isha Books hardcover
2013ref. Gyan-9789332898912Isha Books 2013. Hardcover. New. 22.59 x 14.34 x 6.28 cm. English Isha Books hardcover
ref. 38648094-nnew. unknown
ref. 331964226X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
ref. 968230573X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
ref. 38722939-nnew. unknown
2026ref. __1399826670Jessica Kingsley Publishers 2026. Trade Paperback. New. illustrated ed edition. 432 pages. 8.27x1.02x11.57 inches. Jessica Kingsley Publishers paperback
1798ref. 004071London: W.I. And I. Richardson 1798. 5 2-28pp. Modern half calf and marbled paper over boards author title and date in gilt to spine. Spine very slightly faded. Slightly cropped to fore-edge margin with loss of some of the contemporary marginalia occasional underlining title lightly browned one or two spots of foxing. The third 'improved' edition. Goldsmiths 17370; ESTC T37345 showing eleven locations worldwide. Third Edition. Hardback. Good. 8vo. Pamphlet. W.I. And I. Richardson hardcover
ref. 1552601-nnew. unknown
ref. 1552601like new. unknown
1927ref. 7396CBBraine-le-Comte (Belgique) und Paris, Maison-mère des pères des Sacrés-coeurs de Picpus, 1927. 8°. 207 S. Mit Textillustrationen. Halblederband der Zeit (Orig.-Umschläge miteingebunden).
ref. 2705689567.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
ref. 3631906161.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1928ref. 69925Bois aquarellés de Siméon, un des 25 exemplaires sur Japon Impérial avec une suite sur chine des bois gravés, numérotés de 11 à 35 (n° 30), avec une page autographe de la Comtesse de Noailles et 23 bois aquarellés de Siméon, Editions de la Lampe d'Argile, Georges Servant, Paris, 1928, 119 pp.
1925ref. 85649Paris: Editions Mornay 1925. Fine. Editions Mornay Paris 1925 15.50 x 20.50 cm broché Edition illustrated with original woodcuts by Fernand Siméon one of 895 numbered copies on Rives paper. Light foxing to endpapers otherwise a handsome copy. Editions Mornay unknown
1920ref. 54711Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris Février 1920 18 x 24 cm une feuille 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
1921ref. 54839Paris: Lucien Vogel éditeur 1921. Fine. Lucien Vogel éditeur Paris 1921 18 x 24 cm une feuille Original color print heightened with gold printed on vergé paper signed in 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
