Sturney, SimeonBiblio.com
2 861 résultats
réf. 1917455216.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 47852Eygalières, directeur: Pierre Portejoie. Un volume 18,3x13,8cm broché de 80 pages. Bon état. Comprend un dossier consacré aux poètes des Flandres. Animé par Pierre Portejoie, Le Temps parallèle compte 35 livraisons parus de 1974 à 1983, suivies en 1984, par la revue de poésie Les Nouvelles parallèles (13 numéros jusqu’en 1991).
1993réf. R200007358CHEYNE MANIER MELINETTE. 1993. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 72 pages.. Avec Jaquette. . . Classification Dewey : 841-Poésie
2001réf. RO30341835Fanlac. 2001. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 303 pages. Quelques illustrations en noir et blanc, hors texte. Un ex-libris au stylo sur la page de faux-titre.. . . . Classification Dewey : 840.092-XXI ème siècle
2001réf. RO30335006Fanlac. 2001. In-8. Broché. Bon état, Coins frottés, Dos satisfaisant, Intérieur frais. 303 pages. Nombreuses illustrations en noir et blanc, in texte.. . . . Classification Dewey : 904-Recueils de récits d'événements
2001réf. RO40098643Fanlac. 2001. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 303 pages.. . . . Classification Dewey : 843.0872-Le roman policier
réf. 234322790X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 90766Bruxelles, Edition de la Fondation Egyptologique Reine Elisabeth 1933, 200x130mm, 414pages, broché.
1933réf. C82595Bruxelles, Fondation Egyptologique Reine Elisabeth 1933 vii + 415pp., 20cm., br.orig., C82595
1933réf. 100142474Fondation égyptologique reine élisabeth 1933 in8. 1933. Broché.
1933réf. 047318Edition De La Fondation Égyptologique Reine Élisabeth broché Couverture Illustrée 1933 414 pages en format 13 - 20 cm - couverture souillée
1920réf. 54798Lucien Vogel éditeur | Paris Septembre 1920 | 18 x 24 cm | une feuille
1920réf. 43226Lucien Vogel éditeur | Paris [circa 1920] | 19.50 x 25 cm | une feuille
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. 029203Paris, A. & G. MORNAY/ Les beaux livres (n° 2), 1920 0 un volume in-8° carré (205 x 150mm), 370 pp. (3) pp. Reliure en demi-maroquin brun à coins, dos à nerfs orné, auteur, titre et caissons encadrés de filets dorés, filet doré et filet noir sur les plats, tête dorée, dos et couvertures illustrées conservés, gardes de papier à la cuve. (frottis à la reliure). Couvertures imprimées en rouge et noir. Édition illustrée de bois par Fernand Siméon. Tirage limité, un des 928 exemplaires sur Rives numérotés (n° 983). Intérieur frais. Bel ouvrage.
1920réf. 71303Traduction d'Eugène Tardieu, bois gravés de Fernand Siméon, tirage à mille exemplaires, un des 928 exemplaires sur rives numérotés de 73 à 1000 (n° 940), 1 vol. petit in-8 br. sous couv. rempliée, coll. Les Beaux Livres, Chez Mornay, Libraire, Paris, 1920, 370 pp.
1998réf. LFA00be9Une plaquette de 32 pages, format 150 x 210 mm, broché couverture couleurs, illustré, publié en 1998, Guide du Patrimoine Naturel de la Région Rhône-Alpes, bon état
1921réf. 54839Lucien Vogel éditeur | Paris 1921 | 18 x 24 cm | une feuille
1921réf. 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
réf. 17906Paris. Print. Very good condition. Lithograph print with pouchoir color an intensive process that uses stencils to apply the vibrant color. 7 1/4 x 9 1/2". The "Gazette du Bon Ton" was a leading fashion magazine published from 1912 to 1925 the highlight of which were 10 colored plates in each issue. The magazine signed exclusive contracts with seven of Paris's top couture houses Cheruit Doeuillet Doucet Paquin Poiret Redfern and Worth so that the designers' fashions were shown only in the pages of the Gazette. An annual subscription was 100 francs the equivalent of over $400 today. unknown
réf. 17641Lyon, par Barthélémy Ancelin, 1618, 1 plein velin à rabats d'époque, manques au dos. in-12, titre frontispice dessiné et gravé par Léonard Gaultier, 5 feuillets non chiffrés, 402 feuillets foliotés, soit 804 pages + 6 feuillets de table, inscription manuscrite sur le haut de la page de titre: "Coll Albenae" (collège d'Aubenas), 2 feuillets manquants (pages 95 à 98), manque au bas tu titre (suppression d'une appartenance manuscrite) ;
1921réf. 35486Couverture beige jaunie aux extrémités. intérieur très rpopre. Avec 10 compositions originales sur calque gravées sur bois de Fernand Siméon, présentées chacune sous passe-partout. Non rogné.
réf. ORD-8951Édition agrémentée de vignettes gravées sur bois par Fernand SIMÉON. Paris. Léon Pichon. 1927. In-8 (164 x 230mm) broché, couverture à rabats imprimée en rouge et noir, 119 pages, 18 bois gravés en noir de Fernand SIMÉON parfois assez coquins. Quelques légers reports de gravure sinon bon exemplaire.
