Binder Rene (13 results)

Condition: guter Zustand. Binder, Rene (illustrator). Größe 5x4 cm. Original alte Reklamemarke (poster stamp) die seinerzeit für die Werbung benutzt wurde. Ein Katalog über Siegelmarken und Reklamemarken wird in veikkos-archiv aufgebaut. Diese Ware unterliegt der Differenzbesteuerung. Daher wird die im Kaufpreis enthaltene Mehrwertsteuer in der Rechnung nicht gesondert ausgewiesen.

Condition: guter Zustand. Binder, Rene (illustrator). DGS, Größe 5x4 cm. Original alte Reklamemarke (poster stamp) die seinerzeit für die Werbung benutzt wurde. Ein Katalog über Siegelmarken und Reklamemarken wird in veikkos-archiv aufgebaut. Diese Ware unterliegt der Differenzbesteuerung. Daher wird die im Kaufpreis enthaltene Mehrwertsteuer in der Rechnung nicht gesondert ausgewiesen.

Condition: guter Zustand. Binder, Rene (illustrator). Größe 5x4 cm. Original alte Reklamemarke (poster stamp) die seinerzeit für die Werbung benutzt wurde. Ein Katalog über Siegelmarken und Reklamemarken wird in veikkos-archiv aufgebaut. Diese Ware unterliegt der Differenzbesteuerung. Daher wird die im Kaufpreis enthaltene Mehrwertsteuer in der Rechnung nicht gesondert ausgewiesen.

148 S. O.Leinen mit SU + 8° (SU minimal beschädigt ) Sprache: de.

Condition: Good. Oblong folio. 46 x 24 cm. Sheets loose as issued in cloth slipcase. One of 75 numbered copies signed by the author and artist. With 15 original woodcuts.Bosquet, Alain Tu. Saint-Laurent-du-Pont, Aimée et Marc Pessin Éditeurs, 1971. In-8, en feuilles, emboîtage de toile vert olive frappée or (René Davin). Édition originale des poèmes d'Alain Bosquet illustrés par 15 xylographies originales en couleurs par Jean Piaubert. Tirage à 75 exemplaires sur papier vergé d'Arjomari, celui-ci le n°69, justifié et signé au crayon par l'auteur et l'artiste.Expertise by Librairie Giraud-Badin, Paris.

Large 8vo. (243 x 155 mm). With 5 full-page steel-engraved plates printed on India paper and mounted on thick paper (tissue guards foxed as commonly, with offsetting on plates and text opposite). Contemporary French dark red polished calf, covers scuffed spine darkened and a little worn at head and tail, corners bumped, but an attractive binding, perfectly sound and completely unsophisticated. With faults, and priced correctly. Late Empire binding by Rene Simier (1772-1843) of restrained elegance, exhibiting his unsurpassed technical ability. In the nineteenth century, Simier "pere" - with Joseph Thouvenin - brought the art of French bookbinding to its apogee. In his long and distinguished career Simier was appointed binders to Empress Marie-Louise, Louis XVIII, Marie-Caroline de Bourbon-Sicily (subsequently Duchesse de Berry). According to Ramsden ("French Bookbinders 1789-1848") Simier's "variety and technique were superb; he had no superior and few rivals during his career." Our binding is signed at the foot of the spine the the requisite "Simier R[elieur] du Roi." While there were a number of binders named Simier in the nineteenth century, Rene Simier "pere" was the only one who was appointed Relieur du Roi. LITERATURE: Didier Travier, "Les Simier, relieurs du roi et propriétaires sarthois" in: Revue historique et archéologique du Maine, 2003, p. 121-163. -- Paul Culot et Denise Rouger, "Louis Médard et les relieurs de son temps. Gustave Durville, Gout fils et François-Noël Jaujon de Montpellier et leurs confrères de Paris" (Lunel: Bibliothèque municipale de Lunel, 2003). -- Elizabeth Mismes, "L?atelier Simier: un patrimoine unique" in: Arts & Métiers du Livre, 2007, no 260, pp. 48-55. See Roch de Coligny's highly informative sale catalogue "Les relieurs des rois de France: L'atelier Simier" (vente Lafon - Castandet - Drouot, 6/2/10). Flety p. 162. Ramsden, French p. 190 and in the Introduction pp. 5-6 where is classed, with Thouvenin and Purold, as one of the "Triumviri.".

10 full page tipped in colour plates and 19 smaller colour plates tipped onto individual pages after Rene Bull. 4to., 28x22cm. Finely bound by Ivor Robinson in full black goatskin, covers with gold tooled design of a starry sky with an abstract curving rule to lower corner forming the landscape below, all within a gilt ruled border, spine with 5 raised bands, compartments ruled in gilt and with continued gilt star design from cover, one panel lettered with title in gilt, turn-ins ruled in gilt with floral pattern, binders stamp in gilt to rear lower turn-in 'BOUND BY IVOR ROBINSON', marbled endleaves, with the remains of perhaps the original cardboard slipcase. London, Hodder and Stoughton. Near fine, lower corner of upper cover lightly bumped, internally bright and clean.   A restrained and elegant binding by the great master, Ivor Robinson. The binding is likely an example of his early work, featuring an uncommon stamp signature and retaining the rather more classical design which he experimented with before developing his abstract 'taking a line for a walk' style for which he is best known. Nonethless, in the use of blank space and bold gold tooled lines, his binding of the Rubaiyat shows tantalising hints at the future development of his style, and serves as a perfectly judged accompanient to the playfully mystical text. Robinson was one of the most significant British bookbinders of the 20th century. A founding Fellow of the Designer Bookbinders, Robinson served as the organisation's first president from 1968-1973; he was awared an MBE for services to bookbinding in 1992. He was also a keen cyclist, much to the delight of the present cataloger.   .

Condition: Good. 4to. 22 x 27cm. Original green and black morocco with gilt floral designs on the covers; Mabled endpapers and slipcse. Spine repaired. .17 color etchings by Foujita. Comprising the complete set of 17 etchings and aquatints printed in colors, fine impressions, on Arches laid paper; total edition of 458 on the justification page, with text in French by Pierre Loti, printed by R. Coulouma at 'La Roseraie', published by Les Éditions d'Art Devambez, leather-bound and gilded by Ren Kieffer, Paris, bound (as issued), within the original marbled paper-covered slipcase;.Luc Monod, Manuel de l'amateur de livres illustrés modernes, no. 7341; OCLC Number / Unique Identifier:1020894233.

Gebunden. Condition: New. Das Angestelltengesetz feiert 2021 seinen100. Geburtstag!Es ist damit aber nicht nur das wichtigste noch bestehendeSondergesetz, sondern hat seit 100 Jahren auchVorbildwirkung fuer das gesamte Arbeitsrecht. Viele derAnsprueche, die heute die Arbeitswelt praege.

Hardback. Condition: New. 3., vollst. überarb. u. erw. Aufl. 2011.

Book. Condition: New. 3., vollst. überarb. u. erw. Aufl. 2011.

A spectacular art deco binding by René Aussourd, designed by his client, the leading transatlantic art dealer and collector René Gimpel, and likely retained in Gimpel's personal collection. In 1931 Gimpel commissioned Aussourd to produce another binding incorporating a gilt cross (adorning a volume on Joan of Arc) that eventually passed to his son. In the years leading to the Second World War, Gimpel (1881-1945) worked between galleries in Paris and New York, providing the American elite with European art. Pieces sold by Gimpel now reside in many of the top museums and galleries in the States. During the occupation, he served with the Resistance before being captured, and he died in a concentration camp. Aussourd (1884-1966) was a suitably distinguished craftsman for Gimpel to elect as his binder of choice. He learnt binding from his uncle, Charles Meunier, and was chief gilder for the Chambolle-Duru workshop, before setting up on his own in 1912. While his early work is classical, this volume is a shining example of his unconventional output. Les Petites Fleurs des Saint François is translated from the 14th-century Italian collection of legends concerning the saint. It was published with these fine wood-engraved illustrations in 1913. This edition is dated 1919 on the title page, but the printer's colophon gives a date of 1920. The artist, Maurice Denis (1870-1943), is a pivotal Symbolist painter and theorist. Both his Catholic upbringing and a visit to Italy in 1903 particularly influenced his art, not least in this present example. For his illustrations, he relied on the Beltrand family of wood-engravers; the most talented of the Beltrands, Jacques, provided the engravings for this publication. Jacques Beltrand's excellent work contributed to the revival of wood engraving in France during the 20th century. Quarto (277 x 207 mm). Wood-engravings throughout text, historiated initials, vignette title page, text printed in red and black. Original wrappers and spine bound in at front and rear. Contemporary purple crushed morocco, flat spine, cream morocco gilt onlay flowers to spine and front board incorporating the title, raised gilt morocco onlay Franciscan cross to front board topped by gilt sunrise, wide turn-ins with gilt morocco onlay geometric design, pink floral brocade doublures and flyleaves, patterned paper endpapers heightened in gilt, edges gilt. Housed in a custom quarter morocco and patterned paper chemise, lined in reverse calf, and matching slipcase. Verso of chemise faintly marked, corners of slipcase worn with a couple of short splits. A fine copy.

An Incredible Early Twentieth Century 'Portrait' Binding by René Kieffer Specially Bound for Gérard de Berny in Memory of his Father Gabriel de Berny First Illustrated Edition with an additional set of Proof Illustrations on 'Large Thick Paper' BALZAC, Honoré de. KIEFFER, René, binder. La Peau de Chagrin. Études Sociales. Paris: H. Delloye [&] Victor Lecou, Éditeurs, 1838. First Illustrated Edition, First Printing of the Vignette Illustrations. Specially bound by René Kieffer for Gérard de Berny in memory of his Parents. 'Thick Paper' copy with an additional 'proof' set of the illustrations. Large octavo (11 1/16 x 7 1/2 inches; 281 x 191 mm.). [iv], 402, [1, Table des Matières], [1, blank]. One hundred and one decorative engraved vignettes in the text by Baron, Janet-Lange, Gavarni, French and Marckl, plus one on the title, engraved on steel by Brunellière, Nargeot, Langlois, etc. Additional engraved portrait on India paper of "Pauline", after Janet-Lange, engraved by Félicie Fournier, née Monsaldy (as appearing on pp. 149). Some foxing throughout, mainly marginal, otherwise fine. An incredible early twentieth-century 'Portrait' binding by René Kieffer, stamp-signed in gilt on front turn-in and with his printed label on verso of front endpaper. Full brown morocco, covers triple-bordered in gilt enclosing a highly elaborate symmetrical gilt diamond design with gilt stars. The front cover inlaid with a large oval nineteenth century 'medallion' portrait in oil of Honoré de Balzac and four smaller circular nineteenth century 'medallion' oil paintings titled "Enfance" (childhood), "Etude" (study), "Amour" (love), and "Plaisir" (pleasure). The rear cover similarly inlaid with a large oval nineteenth century 'medallion' portrait in oil of Madame Louise Antoinette Laure de Berny (Balzac's first love "La Dilecta") and four smaller circular nineteenth century 'medallion' oil paintings titled "Ambition", Misère (misery), "Desespoir" (despair), and "Suicide". Spine with five raised bands, similarly decorated and lettered in gilt in compartments. Double-ruled gilt board-edges and multi-gilt ruled turn-ins surrounding an orange morocco liner, elaborately decorated in gilt in a symmetrical design, olive green watered silk endleaves, blue-gray marbled endpapers, all edges gilt. Original brown morocco over blue marbled boards chemise, housed in the original brown morocco edged blue marbled boards slipcase. Spine of chemise sunned, slipcase a little worn at extremities. The binding itself is near fine with just a few fragments missing from the edges of the 'medallions'. Original printed tan wrappers and spine bound in. Small square engraved bookplate of renowned collector, Gérard de Berny on front endpaper. A stunning example reflecting the love affair between Honoré de Balzac and Gérard de Berny's mother, Laure de Berny. The nineteenth century 'Medallion' oil paintings are most certainly from the collection of Gabriel de Berny. Roger Louis Gérard de Berny (1880-1957) was a French politician of the French Third Republic. He was born in Amiens, France. He was elected senator for the Somme in January 1936 and was one of those who voted to give full power to Marshal Pétain on 10 July 1940. de Berny did not return to government after the Second World War. He died in his Hôtel on Rue Victor Hugo in Amiens, now the Hôtel de Berny Museum. The Musée d'art local et d'histoire régionale or Musée de l'Hôtel de Berny is a local history museum for the region of Picardy. The Hôtel de Berny Museum includes 18th century tapestries and wood carvings, such as those from the La Fayette salon in the château de La Grange-Bléneau and those by the Huet brothers (Nicolas, François and Jean-Baptiste the Younger, the three sons of Jean-Baptiste Huet) and Adrien Choquet (a painter from Abbeville) from the Salon du Zodiaque in the Long château, as well as Art nouveau and Art déco ceramics by Montières, French Revolution-era faïence, paintings by Louis Jean François Lagrenée and Isabey, a 1612 harpsichord, pastels by Choderlos de Laclos and 16th-20th century ironwork and clocks. It also contains objects relating to figures from local and national history such as Gresset, Choderlos de Laclos, Jules Verne, Édouard Branly and Maréchal Leclerc. Gérard de Berny's father, Charles Philippe Gabriel de Berny (1825-1884) was married to Laure de Berny, née Louise Antoinette Laure Hinner (1777-1836). "In 1793, aged only fifteen, Laure married Gabriel de Berny, but their union was unhappy. He was 20 years old, quite reserved and cold, whereas his young wife was very sensitive, warm-hearted and caring. Despite their differences, they still managed to have nine children, although five died in infancy and only two survived their mother. In 1815, the family bought a house in Villeparisis, in northern France, where they spent the summers. It was here that Laure first met Honore De Balzac. Laure was 42 at the time and already a grandmother, but this didn't stop the young Balzac (he was only 22) from falling in love with her. At first she resisted him, but Balzac wouldn't give up. He courted her for months and in the end, she gave in. The two become lovers. Of course nothing could remain secret for long in a small town. When Balzac's parents learned of it they tried to break off their scandalous relationship, but to no avail. Laure wasn't just Balzac's lover. She was his confidante, his muse and his benefactress. She gave him the love, security and confidence he hadn't received from his parents as a child, she supported his literary career (she inspired the characters of Madame de Mortsauf in The Lily In The Valley, and Pauline in Louis Lambert) and helped him out financially when he needed it. She assisted him in his business ventures, which always failed, and helped him pay his debts. "La Dilecta", as Balzac called her, also told him many stories about the ancient regime and of how some of her aristocratic friends and acquaintances managed to escape.