Light rubbing wear to cover spine and page edges. Very minimal writing or notations in margins not affecting the text.
Possible clean ex-library copy with their stickers and or stamps. A l's. Nos envois des ouvrages de moins de 60 Euros se font par colissimo tarif de La Poste , et en colissimo Recommandes au-dela sauf avis contraire de votre part. Dos satisfaisant.
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Report of the Secretary of the Treasury. Washington, Nicholson, Contents Statements : Exports of domestic produce; Exports and Imports of foreign merchandise; Tonnage of American and foreign vessels entered and cleared; Statistical view of the commerce of the United States and each State and Territory; Number and class of vessels built during the year and Number and class of vessels built from to Etang de Berre. Gravure, Rance S. Recueil de statistiques. Paul Geuthner. Bon exemplaire. Ethnographie religieuse et traditions populaires. Asie et Malaisie.
First Edition; Second Printing. A chronicle of a day at war in Vietnam. Dust Jacket now in Mylar Protective Cover. Signed by author on end paper Jan 28, Scarce; Photographs, Maps; 1. Very Good in Very Good dust jacket. UK,xviii, pp, 32pp half tone photo ills. ISBN "The most important historical event of the 20th century was a war that seemed to be fought in black-and-white. Our collective memory of the years exists in monochrome, because that was the way most of us saw it - and continue to see it - in the films and still pictures of the day.
Color film for motion pictures and still cameras was readily available then, but was not in wide use because of its fragility and t h e difficulties of developing it.
But there were enough hardy photographic pioneers around in to take the new color film to war, and their pictures, surviving beautifully to this day, show us a very different world than the one we see in o ld n ew sreels. At first glance these images are a bit startling; we are not used to seeing the people, places, and events of the early s in living color. But in due time these pictures seem utterly right, and in fact bring World War II int o mor e r eco gnizable form, more comfortable for modern eyes. Here, then, is a colorful recollection of World War II in over photographs taken, for the most part, by amateur lensmen - ordinary soldiers, sailors, and airmen who wanted to record a nd p rese rve their time in the largest conflict in world history.
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- Jean Boudriot, First Edition?
- Frank Will, Oil on Canvas, View of La Rochelle La Place de la Grosse Horloge.
- L'État français ne se porte pas acquéreur du présumé Caravage de Toulouse.
South Atlantic. United States Navy First edition thus.
Evolution des goûts
A Good copy. Emmanuelle Geoffroy. Marie-Jeanne Lecca. Paul Lormier Vincent Boyer musicien. Auguste Franchomme Charles Le Corbeiller Alexandrine-Caroline Branchu Casimir Eloy Adolphe Nourrit Louis Nourrit Gustave Roger Adolphe Jadin Edouard Rodrigues Jean-Baptiste Rousseau Pierre-Ange Vieillard This was due to the fact that the rollers were limited as to the size of pattern they could produce, therefore high-quality hand-block and copperplate prints still had the advantage of being able to provide a large-scale design of the type preferable for household furnishing textiles.
Block printing was not completely replaced by the roller until the second half of the century A French inventor, Joseph Marie Jacquard — , introduced a mechanism for aiding the creation of woven patterned textiles in The so-called Jacquard mechanism eventually replaced the drawloom system of pattern control, which involved a lengthy set-up every time a new pattern was woven; it increased the speed with which woven designs could be set up on a loom, and allowed the creation of complex weave structures previously impractical with the drawloom.
This enabled the creation of technical masterpieces in the form of pictures resembling prints on paper The eventual application of power to the loom in the weaving of both plain and patterned textiles accelerated production, but each innovation increased pressure on the workers who processed the raw materials into thread.
French weavers in the silk-producing center of Lyon, as well as elsewhere in Europe, were forced to take repeated wage cuts and experienced a reduction in social status by the end of the century.see
Paul Halter - Wikipedia
The Jacquard mechanism was adapted to lacemaking machines as well, making possible the creation of pictorial patterned machine laces, where previously only simple nets could be made. Handmade lace continued to be produced in small quantities and at great expense to cater to the luxury market and specialist collectors, but machine lace dominated the market during the nineteenth century Textile designers took full advantage of these opportunities to display new designs and techniques The innovations of the Industrial Revolution created the means to produce more goods than were required by consumers, therefore new markets were eagerly sought and new consumers seduced into believing that they needed mass-produced decorative items.
Conspicuous consumption was soon no longer the sole province of the upper classes. Continuing technical improvements, combined with the popularity of historical revival styles in home furnishings, produced some spectacular textiles for both dress and furnishings.
This applied to all types of textiles, from inexpensive printed cottons to finely woven silks Textile dyeing technology changed dramatically with the discovery of aniline dyes—the first completely synthetic dyes—by Englishman W. Perkin, in The first aniline dye was a manmade re-creation of the coloring agent in madder root, which produced numerous shades of red. A variety of aniline dye—colored fabrics were shown at the London International Exhibition—the textiles were displayed next to the sticky black coal tar waste from which the dyes were derived.
Competition between French and English textile manufacturers and designers was fueled by the international exhibitions. France responded to the success of the exhibition by organizing its own in It remained the leader in costume and interior fashions, while the English sought to capture a larger share of the luxury goods market. French textile designers were traditionally better trained and earned more money than their counterparts elsewhere in Europe; French studios existed which specialized in designs for export.
The Victoria and Albert Museum was founded in as a repository for art objects intended to serve as inspiration to the design community in addition to serving the public at large. Reform Movements of the Nineteenth Century Each international exhibition brought an unprecedented number of products together in one venue, and many critics found the results less than pleasing. Design quality was perceived to have suffered in the translation from concept to mass production. One positive effect was that many English architects concerned with the reform of design became interested in the decorative arts in general, textile design included.
Translation of «toilerie» into 25 languages
The use of architectural forms and motifs previously found only in furniture was characteristic of textiles designed in the various revival styles of the nineteenth century. This borrowing of motifs was one of the most frequently criticized characteristics of mid-nineteenth-century textile design. Nevertheless, many high-quality revival-style textiles were produced, and were extremely popular with consumers in Europe and the United States.
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