4816 risultati
1979rif. 32429Revue Rock & Folk n° 1 de novembre 1966. In-4 agrafé de 66 pages, au format 27 x 21,5 cm. Couvertures photographiques avec Michel Polnareff et les Beatles. Couvertures avec d'infimes frottis aux coins. Intérieur frais. Mensuel musical français consacré à la musique rock et pop, fondé en 1966 par Robert Baudelet, Jean Tronchot, Philippe Adler, Jean-Pierre Leloir et Philippe Koechlin. La revue connut la participation de nombreux photographes dont : Jean-Pierre Leloir, Claude Gassian, Pierre Terrasson, Gaëlle Ghesquière, Bruno Ducourant,Patrice Guino, Jean-Louis Rancurel, Dominique Tarlé, Bertrand Alary et Saddri Derradji. Nombreux articles sur le Rock, le blues, la soul, la pop dont : Michel Polnareff, Donovan, Vince Taylor, Otis Redding, Small Faces, The Beatles, The Troggs, les Sunlights, Lovin' Spoonful, Little Richard, etc. Nombreuses chroniques avec de très nombreuses photographies en noir et blanc. Dessins en noir de Avoine, Cabu et Serge Dutfoy. Rarissime édition originale, en très bel état de fraicheur de ce mythique n° 1.
1934rif. 61978Asnières, Les Imp. Mary, (1934). In Braun u. Schwarz gedrucktes illustr. Orig.-Plakat (99,5 x 32 cm).
2007rif. 1252492007 Dieter Jakob - 2007 - Limited Edition of 100 copies (Edition limitée à 100 exemplaires, celui porte le numéro 54) - Fort in-4, cartonnage illustré, signet vert - 500 pages - Nombreuses illustrations en couleurs dans le texte - Texte en anglais
2007rif. 1252552007 Dieter Jakob - 2007 - Limited Edition of 100 copies (Edition limitée à 100 exemplaires, celui porte le numéro 50) - Fort in-4, cartonnage illustré, signet noir - 491 pages - Nombreuses illustrations en couleurs dans le texte - Texte en anglais
1948rif. 1306Éditions de la revue Verve, Paris 1948. Volume in-4 (355 x 260 mm), 76 pages, relié sous cartonnage éditeur, jaquette illustrée. - LA COUVERTURE, SPÉCIALEMENT CRÉÉE EN PAPIERS DÉCOUPÉS PAR HENRI MATISSE POUR CE NUMÉRO, EST REPRODUITE EN LITHOGRAPHIE. - 65 reproductions de peintures et dessins illustrent le volume. La couverture a été réalisée d'après une maquette en gouache découpée spécialement créée par Matisse en 1948. Cette composition est limité à deux couleurs jaune et noir, car pour l'artiste "le noir est une couleur"... L'artiste a également composé 40 ornements pour le texte. Avec un avant-propos de Matisse.
1947rif. 105790Belvédère Maîtres du Jazz 1947 Editions du Belvédère, Coll. Maîtres du Jazz, 1947, 107 p., broché, environ 22x16cm, complet des hors-textes, couverture insolée, haut du dos émoussé, bon état pour le reste et intérieur impeccable. Avec un envoi de Hugues Panassié et la signature de Louis Armstrong.
[2] Bll., 47 S. Typendruck. Quer-Gr.-4°. PBd. d. Zt. Ecken bestossen/beschabt. RISM S/SS 2365.
rif. 17518Dimensions : 248 x 172 mm.
1924rif. 139822London: Published Privately at the Savoy 1924. First and only edition one of 1000 copies issued as a "first birthday" celebratory publication; scarce particularly so in the fragile glassine jacket. Loosely inserted in this copy is a slip printing soprano Luisa Tetrazzini's birthday wishes in green. The Savoy Orpheans were formed by former army bandmaster Debroy Somers in 1923 and were resident at the Savoy Hotel until contractual wrangles between W. F. De Mornys entertainments manager at the Savoy and the hotel company led to the orchestra disbanding on New Year's Eve 1927. During their four year tenure the Orpheans were among the cream of British dance bands and "patterned their instrumentation arrangements and classy presentations upon Whiteman's model" Baade p. 25. This attractive publication was printed at the Baynard Press which "employed highly skilled craftsmen. and printed many of London Transport's pictorial posters. the Baynard Press was amongst the largest and most technically accomplished printing firms in Britain" Science Museum. Library Hub locates only the British Library copy among British and Irish institutional libraries; WorldCat adding another copy at Rutgers University New Jersey. Square octavo pp. 16. With 3 tipped-in photogravures 2 showing the Orpheans the other the Savoy-Havana band all in situ in the Savoy Ballroom title page printed in green and pink decorative head- and tailpieces and occasional decorative sprays of notes in pink. Original white quarter cloth pink pictorial boards endpapers with musical notation in pink. With the glassine jacket Negligible rubbing to board edges faintest offsetting to endpapers; else a fine copy in the toned jacket with creasing and a couple of closed tears and chips to edges. Christina L. Baade Victory through Harmony: The BBC and Popular Music in World War II 2012. hardcover
1925rif. 54342Philadelphia PA: Otto F. Schumann Philadelphia Textile School ca. 1925. Small 4to. 8.25 x 9.2 in. 75 leaves unnumbered including 32 leaves with detailed colour charts on weave formations producing various kinds of cloth 3 tipped-in textile samples together w/ weaving instructions in manuscript. Original limp leather 3-ring binder gilt lettering stamped on front cover ink lettering & association of Otto F. Schumann on front cover some soiling dustsoiling edgewear still VG exemplar. This Jazz Age weaving manuscript notebook complete with weave formation design plates fabric samples and instructions offer a remarkable and invaluable artifact of how a young American textile designer and weaver received training at the famed Philadelphia Textile School now Philadelphia University during the 1920s. These course books were judged on completeness and the aspiring weaver’s skill in presenting the details about the instruction as well as their abilities in running the machinery required to produce the cloth. This manuscript notebook includes Schumann’s detailed plates and notes on producing color effect on the plain weave creating Broken Twills Crowfoot Satins Checked & Figured Broken Twills Entwining Twills Basket Weaves and Broken Satins. The extensive manuscript notes detail the loom instructions how many lines are required composition and more in producing the assorted effects. Because of the poor quality of United States textiles exhibited at the Centennial Exhibition in 1876 the Philadelphia Textile Manufacturers pushed for a formalized vocational school to train weavers designers and textile workers. In 1884 it became part of the Pennsylvania Museum and School of Industrial Art with 81 students enrolled by 1885 and by 1894 the School of Textiles added a Department of Wool Carding & Spinning and a Department of Cloth Finishing and Design. By the 1920s the Philadelphia Textile School was offering extensive three-year textile courses chemistry and dyeing courses as well as design courses in cottons woolens worsteds silks Jacquard design and more. Schumann 1906-1967 was the son of Hugo Schumann founder and owner of the Maid Hosiery Mills in Reading PA through the opening decades of the 20th century for whom he worked with until after World War II as designer and sales executive. Otto F. Schumann, Philadelphia Textile School, hardcover
1948rif. 223231948. 1 Traill Sinclair ed. Jazz Journal issues 1948 document postwar British jazz culture as readers collectors critics and musicians rebuilt access to American jazz after wartime disruption and expanding record scarcity. Founded by Sinclair Traill in 1948 Jazz Journal became a major English-language jazz periodical; its inaugural year placed African American performers blues aesthetics revivalist debate discography and record reviews at the center of British jazz criticism. These issues support research into jazz reception in the United Kingdom transatlantic music journalism record collecting racialized cultural admiration and the postwar circulation of African American musical authority through British print culture. Jazz Journal. Volume 1 Nos. 1-3 5-6 8-9. London: J.J. Publications May-November 1948. Seven issues each approximately 12 pages in pictorial wrappers. The run includes the May June July September October and November 1948 issues with one additional issue represented by number rather than month in the supplied description and contains record reviews discographies artist profiles editorials criticism and jazz news. The premier issue opens with Traill's editorial appeal to jazz readers recalling that "Even in those far-off days between the two wars when paper was to be had for the asking and printers' costs didn't resemble a millionaire's hotel bill it was always a dubious endeavour" and closing with the hope that readers would see "a new issue of JAZZ JOURNAL on the first of each month for many years to come." Contents cited in the supplied description include "Make Way for Dixieland or Return to Sanity" a Thomas Waller discography a September 1948 appreciation of Hoagy Carmichael with signed portrait cover and Hugues Panassié's November essay "Count Basie and the Blues" which argues that "Count Basie knows how to play the blues as well as it seems possible to do so on the piano." Cover portraits include Louis Armstrong Nellie Lutcher Count Basie and Humphrey Lyttelton placing African American jazz innovators alongside British revivalist musicians within a magazine aimed at a postwar readership hungry for recordings biographical knowledge and critical guidance. Traill Sinclair ed. Jazz Journal. Vol. 1 No. 1. London: J.J. Publications 1948. The opening issue establishes the magazine's postwar purpose through Traill's editorial address to jazz enthusiasts and its promise of sustained monthly criticism. Its contents including revivalist commentary and discographical attention to Thomas "Fats" Waller show the early publication's effort to organize jazz knowledge for British readers dependent on print mediation and record collecting. 2 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 2. London: J.J. Publications 1948. This issue continues the magazine's early program of criticism record commentary and performer-centered coverage for a readership attentive to American jazz and its British reception. It belongs to the first sequence of issues issued after the May 1948 relaunch from Traill's earlier Pick Up whose final issue preceded the first Jazz Journal in May 1948. 3 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 3. London: J.J. Publications 1948. The third issue forms part of the magazine's initial attempt to stabilize a postwar jazz readership through recurring reviews essays and documentation of recordings and artists. Its position in the first volume is useful for tracing how British jazz criticism developed a regular periodical form in 1948. 4 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 5. London: J.J. Publications 1948. This issue continues the first-year sequence with the supplied description emphasizing the magazine's mix of artist portraits discographical writing and critical essays. The issue contributes to the archive's broader value as evidence of how British jazz readers encountered American performers through images reviews and commentary. 5 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 6. London: J.J. Publications 1948. The September 1948 issue features an appreciation of Hoagy Carmichael with a signed portrait cover connecting jazz readership to popular song composition and the American music industry. Its treatment of Carmichael alongside coverage of African American jazz performers demonstrates the publication's wide understanding of jazz-adjacent culture in the late 1940s. 6 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 8. London: J.J. Publications 1948. This issue belongs to the later portion of the inaugural-year run and continues the magazine's regular pattern of record culture criticism and performer documentation. In the context of the seven-issue group it helps show the durability of Traill's monthly editorial project beyond the launch months. 7 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 9. London: J.J. Publications 1948. The November issue includes Hugues Panassié's "Count Basie and the Blues" a critical essay distinguishing blues feeling and phrasing from commercialized improvisation. Its attention to Basie foregrounds African American musical authority within British jazz discourse and gives the archive direct relevance to the study of blues reception swing-era memory and postwar criticism. Moderate soiling and creasing to wrappers occasional spine chipping intact stapled bindings delicate covers and vivid photographic contrasts good overall. Substantial inaugural-year run of a long-lived British jazz periodical preserving the early critical vocabulary through which postwar British readers studied African American jazz swing-era performers blues expression and record collecting. unknown
1948rif. 223231948. 1 Traill Sinclair ed. Jazz Journal issues 1948 document postwar British jazz culture as readers collectors critics and musicians rebuilt access to American jazz after wartime disruption and expanding record scarcity. Founded by Sinclair Traill in 1948 Jazz Journal became a major English-language jazz periodical; its inaugural year placed African American performers blues aesthetics revivalist debate discography and record reviews at the center of British jazz criticism. These issues support research into jazz reception in the United Kingdom transatlantic music journalism record collecting racialized cultural admiration and the postwar circulation of African American musical authority through British print culture. Jazz Journal. Volume 1 Nos. 1-3 5-6 8-9. London: J.J. Publications May-November 1948. Seven issues each approximately 12 pages in pictorial wrappers. The run includes the May June July September October and November 1948 issues with one additional issue represented by number rather than month in the supplied description and contains record reviews discographies artist profiles editorials criticism and jazz news. The premier issue opens with Traill's editorial appeal to jazz readers recalling that "Even in those far-off days between the two wars when paper was to be had for the asking and printers' costs didn't resemble a millionaire's hotel bill it was always a dubious endeavour" and closing with the hope that readers would see "a new issue of JAZZ JOURNAL on the first of each month for many years to come." Contents cited in the supplied description include "Make Way for Dixieland or Return to Sanity" a Thomas Waller discography a September 1948 appreciation of Hoagy Carmichael with signed portrait cover and Hugues Panassié's November essay "Count Basie and the Blues" which argues that "Count Basie knows how to play the blues as well as it seems possible to do so on the piano." Cover portraits include Louis Armstrong Nellie Lutcher Count Basie and Humphrey Lyttelton placing African American jazz innovators alongside British revivalist musicians within a magazine aimed at a postwar readership hungry for recordings biographical knowledge and critical guidance. Traill Sinclair ed. Jazz Journal. Vol. 1 No. 1. London: J.J. Publications 1948. The opening issue establishes the magazine's postwar purpose through Traill's editorial address to jazz enthusiasts and its promise of sustained monthly criticism. Its contents including revivalist commentary and discographical attention to Thomas "Fats" Waller show the early publication's effort to organize jazz knowledge for British readers dependent on print mediation and record collecting. 2 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 2. London: J.J. Publications 1948. This issue continues the magazine's early program of criticism record commentary and performer-centered coverage for a readership attentive to American jazz and its British reception. It belongs to the first sequence of issues issued after the May 1948 relaunch from Traill's earlier Pick Up whose final issue preceded the first Jazz Journal in May 1948. 3 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 3. London: J.J. Publications 1948. The third issue forms part of the magazine's initial attempt to stabilize a postwar jazz readership through recurring reviews essays and documentation of recordings and artists. Its position in the first volume is useful for tracing how British jazz criticism developed a regular periodical form in 1948. 4 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 5. London: J.J. Publications 1948. This issue continues the first-year sequence with the supplied description emphasizing the magazine's mix of artist portraits discographical writing and critical essays. The issue contributes to the archive's broader value as evidence of how British jazz readers encountered American performers through images reviews and commentary. 5 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 6. London: J.J. Publications 1948. The September 1948 issue features an appreciation of Hoagy Carmichael with a signed portrait cover connecting jazz readership to popular song composition and the American music industry. Its treatment of Carmichael alongside coverage of African American jazz performers demonstrates the publication's wide understanding of jazz-adjacent culture in the late 1940s. 6 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 8. London: J.J. Publications 1948. This issue belongs to the later portion of the inaugural-year run and continues the magazine's regular pattern of record culture criticism and performer documentation. In the context of the seven-issue group it helps show the durability of Traill's monthly editorial project beyond the launch months. 7 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 9. London: J.J. Publications 1948. The November issue includes Hugues Panassié's "Count Basie and the Blues" a critical essay distinguishing blues feeling and phrasing from commercialized improvisation. Its attention to Basie foregrounds African American musical authority within British jazz discourse and gives the archive direct relevance to the study of blues reception swing-era memory and postwar criticism. Moderate soiling and creasing to wrappers occasional spine chipping intact stapled bindings delicate covers and vivid photographic contrasts good overall. Substantial inaugural-year run of a long-lived British jazz periodical preserving the early critical vocabulary through which postwar British readers studied African American jazz swing-era performers blues expression and record collecting. unknown books
rif. awd-1137Huile sur papier au format horizontal, contrecollée sur papier jaune, vers 1957 (12,5/50 cm). t
2006rif. bf5551Albertville, Parole gravée Feuillets sous chemise cartonnée 2006 TRES BEL EXEMPLAIRE RICHEMENT ILLUSTRE. RAMALLO (Jean). Jazz du désir. Illustrations d'Alain Bar. Albertville, Parole gravée, 2006. In-8 (25x17 cm), (1) f. de titre, (8) f. de texte, (1) f. de justification, en feuilles, 2 eaux fortes en noir hors texte, 2 eaux fortes en couleurs hors texte et 2 in texte à double page, un motif estampé à froid sur le feuillet de titre, 3 compositions typographiques in texte et un motif hors texte, couverture imprimée, étui en plexiglas. Seconde édition illustrée par Alain Bar. Tirage limité à 33 exemplaires numérotés signés par l'artiste (celui-ci n°17). ; Très bel exemplaire à l'état de neuf, accompagné d'une carte illustrée d'une eau forte d'Alain Bar avec un envoi de sa main et de sa carte de visite. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
rif. BN66418Süddeutsche Zeitung Jazz-Edition: Dive into Jazz Dombrowski Ralf unknown
2004rif. 54877JazzFine, 2004. JFIS-XR-002 CD Digipak
1947rif. 98087Paris, P., éditions du Belvédère, coll. « Les Maîtres du Jazz, 1 » 1947 In-8 broché, 107 pp., 9 planches hors texte, discographie complète de Louis Armstrong par Charles Delaunay. Infime tache sur le premier plat, couverture un peu poussiéreuse.
1958rif. 146640Associated Booking Corp. Joe Glaser, President. New York, Chicago, Hollywood. (Ohne Jahr. Um 1958). Fotoformat: 21x25 cm
1955rif. 9200Hollywood, Linear Productions, 1955. In-folio broché non paginé, couverture noire illustrée, imprimée en ocre et blanc. Bas du dos fendu, plis en bords.
rif. DADAX0670827711New unknown
rif. DADAX0141014164New unknown
rif. DADAX0810911523New unknown
1974rif. 106886BBRom, 1974. 40 x 30 cm.
1991rif. 99260BBRom, 1991. 30 x 40 cm.
rif. DADAX1847610862New unknown
