HANSI (JEAN-JACQUES WALTZ, DIT. 1873-1951).Livre Rare Book
Herr Seele:Livre Rare Book
Souvenir de Lausanne.
2017ref. 2941BDFIL, 2017. Affiche couleurs au format 33 x 45.
La Bergerie · Le Locle, SwitzerlandCHF 40.00≈ €43.35
11,117 results
ref. 1386AFFICHE EN COULEURS (80 X 48 CENTIMETRES ENVIRON), REPRODUITE A PLEINE PAGE DANS "LE GRAND LIVRE DE L'ONCLE HANSI" (ED. HERSCHER) SOUS LE NUMERO 157, PAGE 127. VOIR EGALEMENT : PAILLARD. 261. EMARGEE EN LARGEUR ET CONTRECOLLEE SUR PANNEAU, PETITS DEFAUTS EN MARGE, SINON BEL ETAT.
2017ref. 2941BDFIL, 2017. Affiche couleurs au format 33 x 45.
1950ref. LCI-65951950 60 x 80 LES SECRETS DES OBJETS : Affiche originale (1950) du film Souvenirs perdus. Le grand Christian-Jaque orchestre une pléiade de stars, de Gérard Philipe à Edwige Feuillère, dans ce chef-d'œuvre de poésie et d'humour. Une composition graphique envoûtante, véritable mosaïque d'émotions et de destins croisés. Présentée dans un état exceptionnel, cette affiche est un témoignage précieux de l'élégance du cinéma français des années 50.
1999ref. 20421000 Editions, 1999. Poster au format 30 x 40. A l'état de neuf.
1999ref. 20431000 Editions, 1999. Poster au format 30 x 40. A l'état de neuf.
1999ref. 20441000 Editions, 1999. Poster au format 30 x 40. A l'état de neuf.
1999ref. 20451000 Editions, 1999. Poster au format 30 x 40. A l'état de neuf.
1999ref. 34541000 Editions, 1999. Poster au format 61 x 80 cm. A l'état de neuf.
ref. 3147Affiche au format 68 x 98, à l'état de neuf.
1966ref. 15788Paris à la Galerie 1966 1 Une affiche de dimensions 51 x72 cm; impression lithographique de Mourlot.
1966ref. 15789Paris à la Galerie 1966 1 Une affiche de dimensions 51 x72 cm; impression lithographique de Mourlot.
1970ref. 670CGZürich, Hug & Söhne, o.J. (um 1970). Farbiger Offsetdruck auf Papier 127 x 89 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, 670CG
1966Une affiche de dimensions 51 x72 cm; impression lithographique de Mourlot. Très légère fente de quelques mm sur la marge de droite; sinon bel état. Peu fréquente. Voir photo.
1966Une affiche de dimensions 51 x72 cm; impression lithographique de Mourlot. Un angle découpé; angles supérieurs un peu marqués. Bon état sinon. Peu fréquente. Voir photo.
français Paris, Draeger, sans date. Feuillet in-4 de 24,5x32 cm. Prix d'honneur illustré par Pierre Gusman. Tirage sur papier fort. Bon état. Léger pli au milieu de la feuille.
français Slnd (circa 1860). In-18 (8x11 cm) de 16 vues dépliantes en lithographie en couleurs, sous chemise rouge ornée de l'éditeur (vignette de la librairie T. Bossu, Aux Sables). Traces de mouillure, cernes et rousseurs. Peu courant.
1990ref. 63008Moskva : Sovetskij Chudožnik 1990 In-folio, broché, 207 pp. Illustration en couleurs à toutes pages. Coins lég. cornés.
1985ref. 48838ABDüsseldorf., Städtische Kunsthalle., 1985. 4°. 35 S. OKarton mit OUmschlag. 1. Auflage. Sehr gutes Exemplar.
ref. 3801Affiche originale. Sans mention d'imprimeur. 1979. Impression en sérigraphie et collage. Dim : 813 x 710 mm.
ref. 3801Affiche originale. Sans mention d'imprimeur. 1979. Impression en sérigraphie et collage. Dim : 813 x 710 mm.
1945ref. 143918- Une feuille repliée. 81 x 117 cm.
1912- Lucien Vogel éditeur, Paris 1912-1913, 19x24,5cm, 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 2,000 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 d'art. 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 illustrator's 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. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé et signée en bas à gauche dans la planche. Gravure originale réalisée pour
ref. 10574Paris, Librairie Galerie René Kieffer, 48 rue Saint-André-des-Arts Paris 6e tel. 326.47.11, du 6 au 30 juin 1972 affiche format 500 X 550 mm, impression en bleu sur papier blanc
ref. 10574Paris, Librairie Galerie René Kieffer, 48 rue Saint-André-des-Arts Paris 6e tel. 326.47.11, du 6 au 30 juin 1972 affiche format 500 X 550 mm, impression en bleu sur papier blanc
1928ref. 65885München, Oscar Consee A.G. Kunstanstalt, 1928. Farb. lithogr. Plakat (120 x 85,5 cm).
