scenery (20 Ergebnisse)

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: Good. 2nd Edition. Met verschillende paginagrote afbeeldingen in kleur van de ontworpen kostuums; Zonder stofomslag; band licht vlekkig.

Hardcover. Zustand: Very Good. No Jacket. 1st Edition. First Edition / First Print. Hardback copy in blue cloth boards with silver gilt lettering and design to front board, no dustjacket. 62pp. Colour illustrations. Not library copy, ink inscription to front pastedown. (14/3).

Gebunden. Zustand: New. KlappentextThis work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original w.

Rare small tourist guide to Mallaig and its environment, published shortly after Mallaig railway station had become the terminus of the West Highland Line (nowadays known to many as the setting for scenes with the "Hogwarts Express" in Harry Potter films). John Menzies Ltd., still in business as a major distributor of newspapers and magazines, owned two hotels in the area. They are shown on the plates and advertisements for them can be found on the booklet's wrappers. - A very good copy.

Buch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

1978/79, 2. printing, Okart., 64/48 S., Okart., 4, StaT, Einbände leicht bestoßen (Englisch).

Map indicating the location of all images photographed, very striking full page colour photographic illustrations throughout captioned in Chinese and English, 211pp, list of contents in both Chinese and English. Foreword by Lao Chengzhi, the onetime President of the Beijing Foreign Language Institute who later in life played a significant role in restoring China's relations with Japan. Text in simplified Chinese characters. Book in excellent condition, as is pictorial dustjacket, embossed card slip case slightly foxed in places, very good copy. 38 x 26.5cm. The dramatic scenery from Xinjiang in the northwest to Fujian in the southeast and from Heilongjiang in the north to Yunnan in the south is conveyed in exquisite double page photgraphic illustrations on glossy paper, including a number of aerial shots, taken in all four seasons and varied weather conditions. According to Liao Chengzhi who wrote the foreword, the book was published as a contribution to the development of China's tourist undertakings and as a celebration of the 30th anniversary of the establishment of the PRC.

. Lithographie aus Völkergalerie b. Goedsche, um 1840, 10,8 x 13.

Hardcover. Zustand: Very Good. owner's presentation plate. some foxing to endpapers & edges of illustrations. corners rubbed. xxviii, 460p. [18] leaves of plates : ill, maps ; 26 cm. 'A new edition'. Full tree calf; gilt spine, borders and crest on front board; gilt edges & marbled boards. Illustrative frontispiece and half-title; also includes steel plates and pages of wood engravings with the names of the artists.

Soft cover. Zustand: Very Good. 1st Edition. Printed in Ripon by John L Linney and sold by William Harrison, Ripon. Folio. Original plain wrappers with quarter cloth spine. Publisher's label to front wrapper. pp. 6 + 8 tissue-guarded copper plates. Pages generally nice and clean. Some foxing but this is mainly to the tissue guards and two of the plates but this is mainly to the margins. Spine slightly creased. Wrappers a little nicked and rubbed to the edges but in very nice condition overall. An exceptionally scarce account in original wrappers and the first copy that we have ever handled in very good plus condition overall.

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.

Hübsches Faksimile. Die Vorlagen zu den Stichen waren Skizzen von "Major Light". Die einführenden Erläuterungen in englischer, französischer u. italienisher Sprache. - Vorsatz mit Exlibris (wohl als Teil des Faksimiles).

altkol. Lithographie aus Völkergalerie b. Goedsche, um 1840, 10,8 x 13.

Lithographie v. Ulffers n. Achenbach, 1877, 15 x 22,5.

[Seoul n.d. ca. 1920's-1930's, Kokusai Hodo]. Red pictorial folding paper cover, 8 b.w. postcards, all unused,very clean 9.5 x 15.2 cm. A lovely production, showing famous scenes in Seoul. While there is no date, this work is surely done about 1920's-1930's. * THE CARDS: Captions in both English & Korean [Hangul], all cards are unused, with blank versos [back side]. . a. "VIEWS OF SEOUL:" a double postcard, panoramic view of the city of Seoul. This shows a very early view of Seoul, with just a few large buildings, the balance very small houses. This double-paoramic view is exceptionally rare when found intact and not separated. . b. "A CATHOLIC CHURCH IN SEOUL:" Shows a large brick church, and the surrounding buildings. . c."KUNJUNGJUN, AN OLD PALACE OF KOREA:" shows the palace and the pointed tall mouontain in the background. . d. "PAGODA PARK IN SEOUL:" shows the tall pagoda and a small shrine in the park. . e. "THE CAPITAL OF KOREA:" shows the government building in all its splendor, likely built by the Japanese. . f. "CHONG NO, MAIN THROUGHFAREOF SEOUL:" shows the main street and electric street car with power lines. . g. "NAM TAI MOON GATE:" the famous Southern Gate with electric street cars, and the road completely surrounding the old gate. * PUBLISHER: Seoul International Press UnionM Keijo Kokusai Ho-do Renmei Hakko, for sale by Sale by Biei-sha. * CONDITION: This set of cards are in excellent condition, "as new," unused, and very clean, no bends, bumps, or damage whatsoever. Contained in the rare original red paper covers, there is a small spot on the front cover, with a small amount of rubbing to the folded edge. *.