Illustrated by Ed Guy (5 results)

Paperback. Condition: VG/No Dustjacket. First Printing. Gettysburg, PA: ***** Self Published *****. VG/No Dustjacket. (c1988). First Printing. Paperback. 8vo., 182 pp., shelfwear, writing on inside rear cover . Black & White Illustrations (illustrator).

HARDCOVER. Condition: Very Good. 1st Ed THUS. VERY GOOD Condition , solidly bound, not marked up; Black spine & cover titles on GOLD TITLE BOXES.lite tan CLOTH HARD COVERS WITH SMALL ALTERNATE SQUARES AS BORDER DESIGN TO FRONT COVER & SPINE DECOR. White endpapers ; 1337-1694pg pages; INCLUDES Many other old favorites by popular INTERNATIONAL authors of the day. Illustrated by DE MAUPASSANT, GUY Frontis Photo.Others (illustrator).…

Magazine. Condition: Good. (Vol. XLIX, No. 11). [presents very well, nice clean covers, just a tiny pinky-nail-size chunk out of the right edge of the front cover -- BUT NOTE that pp. 17/18 and pp.109-114 are missing]. (B&W and color illustrations and ads) Oversize vintage magazine (in those days the LHJ was approx. 11"x14", about the same size as The Saturday Evening Post and like publications), largely devoted to numerous "ladies'" features, grouped under useful headings such as "How to Cook," "How to Keep House," etc. Some of the vital topics covered are "Fitting Your Face to the Fashions," "Please Your Guests With Simple Suppers," "The Knack of Making Biscuits," and of course "The Well-Dressed Homemaker." Other interesting articles include: the first installment of the personal recollections of Alice Roosevelt Longworth; short biographical profiles (with portrait sketches) of that year's Presidential and Vice-Presidential candidates' wives; a short piece on "When Louisa May Alcott Wrote for the Journal"; For my money, however, the fiction is the real attraction, and in this issue there are seven stories (two of which are actually installments of serially-published novels): "The Film Face" by Vicki Baum (translated from the German); "The Quarrel" by Pearl S. Buck; "Fancy Pants" by Florence Ostern; "Blue for True Love" by Ruth Comfort Mitchell; "Three Women, Part III (Conclusion)" by Willa Cather; "A Week and a Day, Part II" by Sophie Kerr. (One additional story, "Surprise Ending," by Graeme and Sarah Lorimer, is unfortunately missing its opening page. Also missing is the beginning of an article, "The Sawdust Trail" by evangelist Billy Sunday.) And of course one of the most attractive features of any popular magazine of this period are the advertisements, in this case largely either fashion- or food-oriented. (I especially like the Crisco ad, touting its salutary effects on one's digestion.). Illustrated by (cover design) Guy Hoff (illustrator).…

dj. Very Good (covers nice; contents clean & tight); tiny tears, nicks & creases ($18.95 price present of front flap, small rubbed spot top corner of front cover) d/j. 8vo., black boards in dust jacket; 355 pages First Edition, first printing. Unique signed presentation on the front endpaper, to ?The Tonight Show? cohost Ed McMahon, who wrote the book?s introduction: ?Dear Ed, Your help and kindness were simply gorgeous. Nobody but you could have been as appropriate to introduce this book. So many thanks, Guy Lebow.? Also, laid in is an autograph letter from LeBow to McMahon, on WNWK (New York) stationery: ?Dear Ed. Here it is. Hope you like it. My deepest thanks to you, Guy.? An autobiography of an early media and television pioneer. LeBow [who died in 2008 at age 92] was a sportscaster, newsman, musician, author, producer and TV personality, who was deeply involved in community educational and recreational programs for children and adults in New York City and Newark. Ed McMahon [1923?2009] was an American announcer, game show host, comedian, actor, singer, and combat aviator. McMahon and Johnny Carson began their association in their first TV series, the ABC game show Who Do You Trust?, running from 1957 to 1962. McMahon is best known for his 30-year run (1962-1992) as cohost to Johnny Carson on NBC?s ?The Tonight Show,? Probably one of the best association copies you can have of this title.. Introduction by Ed. McMahon. Illustrated. (illustrator). Signed.…

Softcover. Condition: 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 St. …