2.934 Ergebnisse
2013Best.-Nr. x-1447137213Springer 2013. Paperback. New. 320 pages. 9.02x5.98x0.73 inches. Springer paperback
Paris, Cercle du Livre Précieux, 1961. In-8, en feuilles, couverture rempliée, sous chemise et étui. (chemise et étui neufs refaits à l'identique). Les 12 gravures originales de Michel SIMEON ont été coloriées par Maurice Beaufumé. Edition limitée à 750 exemplaires numérotés sur vélin (n° 429). Apollinaire, Fleuret et Perceau, qui citent l'édition originale (1892), indiquent " roman licencieux qui nous donne l'apparence et les moeurs de Saint-Pierre de la Martinique peu avant la destruction de cette ville par l'éruption du Mont Pelé. Cet ouvrage est peut-être le seul où l'on ait recueilli des expressions créoles les plus libres. L'affabulation en est ingénieuse. "
Best.-Nr. 14714Paris, Cercle du Livre Précieux, 1961. In-8, en feuilles, couverture rempliée, sous chemise et étui. (chemise et étui neufs refaits à l'identique).
Paris, Cercle du Livre Précieux, 1961. In-8, en feuilles, couverture rempliée, sous chemise et étui de l'éditeur. Les 12 gravures originales de Michel SIMEON ont été coloriées par Maurice Beaufumé et sont à part sous papier cristal. Edition limitée à 750 exemplaires numérotés sur vélin, celui-ci hors-commerce Apollinaire, Fleuret et Perceau, qui citent l'édition originale (1892), indiquent " roman licencieux qui nous donne l'apparence et les moeurs de Saint-Pierre de la Martinique peu avant la destruction de cette ville par l'éruption du Mont Pelé. Cet ouvrage est peut-être le seul où l'on ait recueilli des expressions créoles les plus libres. L'affabulation en est ingénieuse. " Bel exemplaire, état neuf.
Best.-Nr. 22420Paris, Cercle du Livre Précieux, 1961. In-8, en feuilles, couverture rempliée, sous chemise et étui de l'éditeur.
Best.-Nr. 9814299626.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
2011Best.-Nr. AME_9789814299626World Scientific 2011. 1ST. Hardcover. New/New. _ World Scientific hardcover
Best.-Nr. 61420579World Scientific Publishing Company Incorporated . Hardback. Used. pp. xv 127 World Scientific Publishing Company, Incorporated hardcover
1920Best.-Nr. 39039Lucien Vogel éditeur | Paris 1920 | 19.50 x 25 cm | une feuille
1920Best.-Nr. 54773Lucien Vogel éditeur | Paris Juin 1920 | 18 x 24 cm | une feuille
1920Best.-Nr. 54773Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris Juin 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
1920Best.-Nr. 39039Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris 1920 19.50 x 25 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
Best.-Nr. 15169Chambon-sur-Lignon : Cheyne (Manier-Mellinette) Editeur, Collection "Poèmes pour grandir" 2000 (deuxième édition) - in-8 broché sous couverture illustrée à rabats, 44 pages illustrées de hors texte en couleurs par Martine Mellinette - très bon état - tirage à 2000 exemplaires sur Centaure ivoire -
1995Best.-Nr. 634Le Chambon-sur-Lignon, Cheyne éditeur, 1995 Couverture noire, jaquette orange, 16 pages, gravure de Martine Mellinette en frontispice.
Best.-Nr. 6830Les images du temps Lapina 1928
1928Best.-Nr. 782831928 Paris, Lapina (Collection "Images du Temps"), 1928, petit in 8° broché, 108 pages ; non coupé ; couverture rempliée, étui.
1928Best.-Nr. 35954Sous étui cartonné avec pièce de titre avec nom d'auteur en lettres dorées. Couverture rempliée marbrée. Dos éclairci. Intérieur bien frais. Avec fac-similé d'une page manuscrite et corrigée de l'auteur, un portrait de l'auteur par L. Madrassi et des eaux-fortes originales et bois de SIMEON. Non rogné.
2014Best.-Nr. 118540Flammarion, 2014, gr. in-8°, 378 pp, 16 pl. de photos en noir et en couleurs, un tableau généalogique, une carte, chronologie, biblio, broché, couv. illustrée, bon état
2014Best.-Nr. LFA-126739479Un ouvrage de 381 pages, format 155 x 240 mm, illustré, broché couverture couleurs, publié en 2014, Editions Flammarion, bon état
1923Best.-Nr. 47620Paris Jonquières, coll. "Les Beaux Romans" 1923 1 vol. broché in-8, broché, couverture rempliée, 248 pp. Edition illustrée d'un frontispice gravé sur cuivre et de vignettes in-texte et à pleine page coloriées au pochoir par Siméon. Exemplaire numéroté sur vélin de Rives. Dos légèrement gauchi.
1923Best.-Nr. 47620Paris Jonquières, coll. "Les Beaux Romans" 1923 1 vol. broché in-8, broché, couverture rempliée, 248 pp. Edition illustrée d'un frontispice gravé sur cuivre et de vignettes in-texte et à pleine page coloriées au pochoir par Siméon. Exemplaire numéroté sur vélin de Rives. Dos légèrement gauchi.
Best.-Nr. 15811Small 8vo. Fine hmorocco, richly gilt back. (Flammarion Vaillant). Uncut. No 704 of 1100 ""sur velin de Rives"", a total of 1180 copies. Many fine coloured woodcuts by Siméon.
Best.-Nr. 30504Paris Henri Jonquiere & Cie, éditeurs 1923 in 8 (20,5x15) 1 volume broché, couverture rempliée, une pointe-sèche en frontispice 248 pages [1], avec des dessins en couleurs par Fernand Siméon (coloriés au pochoir). Collection ''Les beaux romans'', 6. Tirage limité à 1180 exemplaires numérotés, celui-ci un des 1100 exemplaires numérotés sur vélin de rives. Notre exemplaire provient de la bibliothèque du peintre Maurice Asselin, il est enrichi d'un très beau dessin aquarellé signé par Siméon (Jeune danseuse assise, ce beau dessin hors texte à pleine page est inséré avant le frontispice, avec la signature de Maurice Asselin au verso). Fernand Siméon, Paris 1884 - 1928, peintre, graveur et illustrateur français. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
1923Best.-Nr. 4644Henry Jonquières & Cie, éditeurs . In-8 broché, II-248 pages, un frontispice au burin, 31 compositions aquarellées dont certaines à pleine page. Bel ouvrage (un peu gauchi)
1923Best.-Nr. 5309JONQUIERES 1923 1 Dessins de Simeon. Paris, Jonquières & Cie, Les Beaux Romans, 1923, in-8, broché, couverture rempliée, 248 pages.
