Vista interior de la Lonja de Valencia [Material gráfico] =Vue intérieure de la Bourse de Valence=Interiour view of the Exchange at Valencia

Estampado en la misma hoja con: "Plano de la Lonja de Valencia"

Plan [sic] de la Lonja de Valencia [Material gráfico] =Plan de la Bourse de Valence=Plan of the Exchange at Valencia

Estampado en la misma hoja con: "Vista interior de la Lonja de Valencia"

La bourse et ses spéculations mises a la portée de tout le monde : contenant les documents législatifs, administratifs et judiciaires jusqu'en 1853 sur les opérations qui peuvent étre faites en matière de fonds publics français et étrangers ... /

Mode of access: Internet.

Le gain mathématique à la bourse; la spéculation de bourse considérée comme jeu de pur hasard, theéorie mathématique de la probabilité en mathière de cours, écarts et équilibres, conjectures alternantes, tableaux et graphiques à l'usage des spéculateurs; exposé theéorique et pratique d'une méthode de spéculation assurant un bénéfice considérable et continuel ...

Mode of access: Internet.

Des opérations de Bourse : manuel des fonds publics et des sociétés par actions dont les titres se négocient dans les Bourses françaises... /

Mode of access: Internet.

Nouveau manuel complet du banquier de l'agent de change et du courtier : contenant toutes les opérations de bourse ainsi que les lois et règlements qui s'y rapportent, le change, le courtage, les négociations des effets, etc. /

Mode of access: Internet.

Un jeu de bourse, ou, La bascule : comédie en un acte, en prose /

Mode of access: Internet.

Gail Sorronda - New York, Paris, London, Sydney

QUT Fine Arts Fashion Design graduate Gail Reid is making a name for herself nationally and internationally. As one of the first QUT graduates to establish and sustain her own label, it begs the question how, why and what's next for her career aspirations.

Paris 1947 : The woman of fashion

Paris 1947 is the site of one of twentieth century fashion’s fictive highpoints. The New Look combined drama and poetics through an abiding rhetoric of elegance. In doing so it employed traditional modes of femininity, casting the woman of fashion in the guise of an ambiguous ‘new’ figure: half fairytale princess, half evil witch. This fashionable ideal was widely disseminated through key photographic representations, Willy Maywald’s 1947 image of the Bar Suit being a case in point. It was precisely such mythic formulations of ‘woman’ which Simone de Beauvoir was to take to task just two years later with the publication of The Second Sex. Driven by frustration with the status quo of real women, de Beauvoir recognised the role of fictive representations, both textual and visual in defining women. This paper reads key sections of The Second Sex through a comparative analysis of two iconic images of French women from 1947; Cartier-Bresson’s classic portrait of de Beauvoir and Willy Mayhold’s spectacular evocation of Christian Dior’s New Look. Cued by a compelling range of similarities between these images this paper explores links between fashion, feminism and fiction in mid-century French culture.

Outdoor portrait of Ellen Bernkopf nee Catzenstein with her husband Hans Bernkopf; Paris, France. Portraits Couples

Digital Image

Albert Einstein at blackboard; College de France, Paris France Portraits Men

Digital Image

Jacob Judey-Barosin with his wife Sonia nee Finkel after the end of World War II; Paris Portraits Couples

Early in 1943 the Barosins were arrested and sent to the deportation camp in Gurs. They were freed by French authorities and went into hiding until their liberation in 1944 in Paris. In 1947 they emigrated to the United States.