calavas (8 Ergebnisse)

Hardcover. Zustand: Very Good +. First Edition. [12], 24. Plates are 225 x 165 mm. Introductory text, in French, folded sheets, with 24 loose plates, in a paper-covered salmon chemise with off-white paper label, white cloth spine and cloth ties [spine and ties a little aged]. Light wear at corners, tiny area of bumping to upper tips, interior paper of spine is split, but exterior is sound; plates are immaculate and undamaged. No names or marks. Scarce.

Hardcover. Zustand: Acceptable. 76 plates. boards detached and show heavy wear and tear, no spine. plates all have embossed stamps on them, show minimal wear.

1 volume (unpaginated [4] pages, 54 plates in a worn folder): illustrations in black and white and in colour. ; 34 cm. Publication date based on the exhibition date. Paperback with drawstring closure, gilt covers, title on the front cover. Summary:1931 Paris Exposition Coloniale, called by some 'the most spectacular colonial extravaganza ever staged in the West', attracted eight million visitors in six months and showcased the diverse cultures and immense resources of France's colonial possessions. The French government brought people from the colonies to Paris and had them create native arts and crafts and perform in grandly scaled reproductions of their native architectural styles such as huts or temples. Other nations participated in the event, including The Netherlands, Belgium, Italy, Japan, Portugal, the United Kingdom, and the United States. The Exposition provided a forum for the discussion of colonialism in general and of French colonies specifically. French authorities published over 3,000 reports during the six-month period and held over 100 congresses. It also served as a vehicle for colonial writers to publicise their works, and it created for example a market in Paris for various ethnic cuisines, particularly North African and Vietnamese.

Zustand: Assez bon. CALAVAS (illustrator).

Loose leaf. Zustand: Good- to very good+ condition. First edition. Elephant Folio (20 3/4 x 14 7/8"). (1) 20 plates. Original grass green half cloth over dark tan paper-covered boards portfolio with decorative elements and lettering in black on cover. Title page with publisher's device. Album of twenty intricate decorative designs, rendered in full page gravure in mulitple blue tones throughout. The plates are all printed horizontally and measure 14 3/4 x 20 3/8" with the exception of plate twenty, trimmed on three sides, measuring 13 3/8 x 18 inches. Only one OCLC entry found for the British Museum. Text on title page only, in French. Binding with some wear along edges, closed tears and light fraying at head and tail of spine and heavily rubbed. Some plates with small closed tears in margins, not affecting images.

Softcover. Zustand: g- to vg. First edition. Small folio. Unpaginated. [46]pp (Advertisement), [84]pp (Text), [8]pp (Advertisement). Original illustrated wrappers by French artist, fashion illustrator and designer Christian Bérard. Spiral bound. Illustrated with three tipped-in color plates, numerous illustrations and 47 b/w photographic reproductions by Alinari, Brogli, Bulloz, Calavas, Fachetti, Giraudon, Bernand, Brassai, Robert Doisneau, Guy le Boyer, Schaall, Seeberger, Lipnitzki and Ostier, this scarce work is the official catalog of the London exhibition of "Le Théatre de la Mode", with Introductory text by Lucien Lelong, and text contributions by Louis Chéronnet and Gérard Bauer. Le Théatre de la Mode (Theatre of Fashion) was a 1945-1946 touring exhibit of fashion mannequins, approximately 1/3 the size of human scale, crafted by top Paris fashion designers. It was created to raise funds for war survivors and to help revive the French fashion industry in the aftermath of World War II*. The French fashion industry was an important economic and cultural force in Paris when World War II began. There were 70 registered couture houses in Paris, and many other smaller designers. The war had a severe impact on the industry. Couturiers and buyers fled occupied France or closed their businesses. Clothing businesses that struggled to remain open had to deal with extreme shortages of cloth, thread, and other sewing supplies. The occupying Germans intended to displace Paris with Berlin as a centre of European fashion design. The Nazi regime planned to turn Berlin and Vienna into the centres of European couture, with head offices there and an official administration, introducing subsidies for German clothing makers, and demanding that important people in the French fashion industry be sent to Germany to establish a dressmaking school there. Haute Couture's place in France's economy was key to this plan: an exported dress made by one of France's leading couturiers was said to be worth "ten tons of coal", and a litre of fine French perfume was worth "two tons of petrol". French fashion was also not only important economically, it was a vital part of France's national cultural identity. French designers resisted the Nazi regime's plans; Lucien Lelong, president of the Chambre Syndicale de la Couture Parisienne, proclaimed, 'It is in Paris or it is nowhere.' After Paris was liberated, the idea for a miniature theatre of fashion came from Robert Ricci, son of couturier Nina Ricci. All materials were in short supply at the end of World War II, and Ricci proposed using miniature mannequins, or fashion dolls, to address the need to conserve textiles, leather, fur, and so on. The mannequins were 27 1/2" (700 mm) tall, fabricated of wire. Some 60 Paris couturiers joined together and volunteered their scrap materials and labour to create miniature clothes in new styles for the exhibit. Milliners created miniature hats, hairstylists gave the mannequins individual coiffures, and jewellers such as Van Cleef and Arpels and Cartier contributed small necklaces and accessories. Some seamstresses even crafted miniature undergarments to go under the couture designs. Once work was completed on the Théâtre de la Mode, it became a touring exhibition of nearly 200 doll-size figurines in 15 elaborate artist-created sets. It opened at the Louvre in Paris on 28 March 1945, and was enormously popular, drawing 100,000 visitors and raising a million francs for war relief. With the success of the exhibit in Paris, the Théâtre de la Mode went on a tour of Europe, with shows in London, Leeds, Barcelona, Stockholm, Copenhagen and Vienna. To promote the exhibit abroad, a French government official wrote to the Ambassador of France in Britain: "France has little, alas to export, but she has her appreciation of beautiful things and the skill of her couture houses". After touring Europe in 1945, the mannequins were outfitted with new clothes designed for the 1946 season and the exhibition traveled to the United States, where it was displayed in New York City and San Francisco in 1946. After the final show, the mannequins were left behind in San Francisco, while the jewellery was returned to Paris. This catalog is complete, and includes no less than 54 pages of advertisement for French Haute Couture designers. Head and tail of spine slightly chipped. Closed tear at lower front joint. Clear water-staining along edges of wrappers. Minor age-toning along paper margin. Wrappers in overall good- to good, interior in very good condition. * The original Théâtre de la Mode exhibit toured Europe and then the United States, and is now part of the permanent collections of the Maryhill Museum of Art in Washington State in the United States.

Couverture rigide. Zustand: Très bon. Paris . Librairie des Arts Décoratifs A. Calavas . Sans date . Vers 1930 . Une grande chemise rigide titrée noir & rouge , demi toile , fermeture à lacets , contenant en feuilles une page de titre suivi de ENVIRONS 120 REPRODUCTIONS NOIR & BLANC sur 34 PLANCHES de 300 x 410 m/m . EXCELLENT ETAT . POIDS : 1,500 KG .

Portfolio. Zustand: Very Good +. First Edition. Lovely 1931 French portfolio, complete in 54 loose plates (most still with their original tissue guards). All of the photos are lavish, high-quality black and white illustrations of French Colonial life. The gold and dark ribbon-tied chemise which houses the photos has held up very nicely as well. Clean and VG+ to Near Fine, with just a touch of very light scuffing to the panels. Edited by A. Calavas, the Introduction by Joseph Trillat.