‎GEORGES RICHARD CYCLES. FERNEL (Fernand).‎
‎"Cycles".‎

‎Des Crises commerciales. Considérées dans leurs rapports avec le mouvement des escomptes de la Banque, le développement de la population, des importations et des exportations, et le prix moyen des céréales. - [ANTICIPATING 'JUGLAR CYCLES']‎

‎Paris, Guillaumin, 1856. Small8vo. In a nice contemporary full calf binding with gilt lettering and ornamentation to spine and embossed front and back boards. In ""Annuaire de L'Economie Politique et de la Statistique"", 1856, Trezieme Annee. Entire volume offered. Wear to upper and lower part of spine and internally with light occassional brownspotting. A fine copy. Pp. 555-581. [Entire volume: VIII, 612 pp.].‎

‎First edition of Juglar's seminal first paper on commercial crises, fluctuations of prices and discount rates of banks of France, anticipating many of the themes and ideas later to be included in his 'Juglar Cycles'. By shifting focus from theory of crisis to the theory of cycles, Juglar laid much of the foundation for all later Business Cycle Theories: ""If anyone can be singled out as first establishing the phenomenon of periodic business cycles as an indisputable fact of economic life, it is Clément Juglar"" (Blaug).Juglar first identified economic cycles 7 to 11 years long which was later divided into four distinct stages by Schumpeter: 1, expansion (increase in production and prices, low interest-rates). 2, crisis (stock exchanges crash and multiple bankruptcies of firms occur). 3, recession (drops in prices and in output, high interest-rates). 4, recovery (stocks recover because of the fall in prices and incomes).""Historically, commercial crises are always accompanied by monetary crises Juglar thus analyzed long series of banking statistics (discounts, metallic reserves, circulation of banknotes, deposits), at first only for France and later also for England, the Unites States and to a lesser extent for Prussia and Hamburg, which he compared with the variations in population, the price of corn, import and exports, rents and public revenue. He noted a strict correlation (especially in the variations of discounts and reserves) and that changes go through specific phases, always the same, and are in concordance in the countries where commerce and industry are more developed."" (Besomi)""Juglar's analysis of crises is essentially a monetary one - protracted periods of inflation and expansion are brought to an end when the banking system initiates a contraction in the face of unacceptable pressures on its specie reserves. This is very like the story Wicksell was later to tell, but without the sophistication of Wicksellian theory. Subsequent theories of the business cycle, which attributed the process to 'real' causes, were critical of this aspect of Juglar's argument. The observed periodicity of the cycle - of nine to ten years - is commonly known in the applied literature on business cycles as a Juglar cycle"". (The new Palgrave).Similar 7 year cycles have been found by Goubert in Beauvais, Parenti in Tuscany, Spooner in Udine and Hauser in Paris.‎

‎Manufrance - Manufacture française d’Armes et Cycles de Saint-Etienne‎

‎ Catalogue Manufrance, Manufacture française d’Armes et Cycles de Saint Etienne, s.d. (1914). Grand in/4 broché, 1200 pages, couverture imprimée, nombreuses illustrations. Menues traces de manipulations sur la couverture. Très nombreuses illustrations en noir, quelques planches couleurs (mouches de pêche, cartouches, tête de chapitre - dont 2 signées Harry Eliott sur la chasse et la pêche !) : une mine de renseignement sur les objets de la vie quotidienne au début du 20è siècle ! : lanternes japonaises ou vénitiennes de papier, masques, phonographes, lanternes magiques, jouets (trains miniatures bateaux à vapeur, jeux de golf, décorations françaises, cycles, armes de chasse, tri-porteur ‎

‎Crusader Rhetoric and the Infancy Cycles on Medieval Baptismal Fonts in the Baltic Region‎

‎, Brepols, 2024 Hardback, 492 pages, Size:216 x 280 mm, Illustrations:448 col., 8 tables b/w., 7 maps b/w, Language: English. ISBN 9782503599380.‎

‎Summary This is the first comprehensive, interdisciplinary analysis to demonstrate that the representation of Infancy cycles on twelfth-and-thirteenth-century baptismal fonts was primarily a northern predilection in the Latin West directly influenced by the contemporary military campaigns. The Infantia Christi Corpus, a collection of approximately one-hundred-and-fifty fonts, verifies how the Danish and Gotland workshops modified and augmented biblical history to reflect the prevailing crusader ideology and rhetoric that dominated life during the Valdemarian era in the Baltic region. The artisans constructed the pictorial programs according to the readings of the Mass for the feast days in the seasons of Advent, Christmas and Epiphanytide. The political ambitions of the northern leaders and the Church to create a Land of St. Peter in the Baltic region strategically influenced the integration of Holy Land motifs, warrior saints, militia Christi and martyrdom in the Infancy cycles to justify the escalating northern conquests. Neither before nor after, in the history of baptismal fonts, have so many been ornamented with the Infancy cycle in elaborate pictorial programs. A brief revival of elaborate Infancy cycles occurs on the fourteenth and fifteenth century fonts commissioned for sites previously located in the Christian borderlands east of the Elbe River with the rise of the Baltic military orders and the advancement of the Church authority. This extraordinary study integrates theological, liturgical, historical and political developments, broadening our understanding of what constituted northern crusader art in the twelfth and thirteenth centuries. TABLE OF CONTENTS Introduction Maps Part I. The Historical And Political Contexts Chapter 1. The Workshops and Continental Networks 1.1 The Workshops 1.2 Inscriptions 1.3 Dating Medieval Baptismal Fonts Chapter 2. The Ecclesiastical, Cistercian, and Artistic Relationships between Denmark and Gotland 2.1. Medieval Kingdom of Denmark 2.2. land and Gotland 2.3 The Church, Cistercians, and Military Orders 2.4 The Cistercian Period 2.5 Trade and the Church Chapter 3. The Eucharist, New Law, and Crusader Theology 3.1. De fontibus salvatoris: The Chalice-Shaped Fonts and the Cult of the Child 3.2. The Eucharist and Baptismal Fonts 3.3. The Judicial Century 3.4. Vineam Domini and the Crusades Part II. The Iconography, Liturgy, and Crusades Chapter 4. The Advent Season and Feast Days 4.1. The Liturgy and Biblical Readings 4.2. Palmers and Crusades 4.3. Christ's Triumphal Entry into Jerusalem 4.4. The New Jerusalem 4.5. St George, St Mercurius, St Methodius and St Cyril 4.6 Advent of Ecclesia 4.7 The Visitation and the Four Daughters Chapter 5. The Christmas Season 5.1. Vigil of Christmas (24 December) 5.2. Christmas Day (25 December) 5.3. Feast Day of St Stephen (26 December) and Legend of Staffan the Stable Boy 5.4. Feast of the Holy Innocents (28 December) 5.5. Feast Day of St Thomas Becket of Canterbury (29 December) 5.6. Feast of the Circumcision / Octave of Christmas (1 January) Chapter 6. The Epiphany Season: Crusader Kings and Peregrini 6.1. The Vigil of the Epiphany (5 January) 6.2. The Epiphany (6 January) 6.3. Moses and the Crusades 6.4. The Cult of the Magi 6.5. Milites Christi and Martyrdom 6.6 Candlemass: The Feast of the Purification (2 February) Conclusion Appendix 1. Tables Appendix 2. Figures Bibliography Index of Biblical References Index of Baptismal Fonts General Index‎

‎"De la belle mécanique. Cycles Motos Favor".‎

‎Paris Établissements de La Vasselais 1937 Affichette originale lithographiée insérée dans un kakémono composé de 2 barres en aluminium, Paris, Établissements de La Vasselais, (1937), 38 x 59.6 cm. (format à vue), 39.6 x 59.6 cm. (format avec le kakémono inclus). ‎

‎Favor était un fabricant de motos, cyclomoteurs et cycles fondé en 1898. Cette entreprise française, basée à Chamalières près de Clermont-Ferrand, ferma ses portes en 1977. L'iconographie de l'affiche présente la double casquette de cette entreprise. Un ouvrier porte dans chacune de ses mains un vélo et une moto, directement sorties des usines de la société. Quelques plis, légères déchirures et petits accidents au kakemono. ‎

‎Faust – Conte fantastique tiré de la légende des cycles. 8 compositions originales publicitaires publiées pour les cycles Decauville.‎

‎ Maquette originale réunissant les 8 dessins au trait aquarellés en couleurs (H. 16 x L. 13 cm) collées côte à côte sur un grand carton épais, disposées sur deux rangées horizontales dans un quadrillage de larges traits peints en bleu et accompagnées de légendes manuscrites. Encadrement sous verre avec une baguette de chêne (H. 54 x L. 72,5 cm, cadre ancien avec l'étiquette collée de la maison L. Leroy, 8 rue de Châteaudun à Paris).Précieuse maquette d'une des premières publicités consacrées à la bicyclette et au side-car, entièrement aquarellée en couleurs, réunissant les 8 compositions exécutées par Henry Gerbault pour la publicité des cycles Decauville publiée sur double page dans Le Petit Journal. Les dessins au trait de chaque illustration ont été imprimés en noir sur une feuille séparée, mis en couleurs à l'aquarelle avant d'être collés sur un grand carton épais, disposés côte à côte sur deux rangées horizontales dans un quadrillage de larges traits peints en bleu et accompagnés de légendes manuscrites. Cette maquette présente de grandes différences par rapport aux compositions qui ont été éditées, tant au niveau des couleurs utilisées et de leurs répartitions, que des légendes manuscrites qui présentent de nombreuses corrections de mains différentes.En septembre 1892, Jean Bertoux, chef-armurier au 46ème Régiment d'Infanterie à Fontainebleau, déposa un brevet de cycle exploité par le fabricant Decauville qui édita une plaquette humoristique d'une vingtaine de pages, intitulée Faust Conte fantastique tiré de la légende des cycles et illustrée par Georges Amigues de compositions en noir. Le thème fut repris en avril 1894, en couleurs, dans le supplément illustré du Petit Journal, sur une double page dans laquelle Henry Gerbault, alors célèbre illustrateur, peintre et affichiste, détailla le sujet en 8 grandes images en couleurs réunies ici dans une maquette de travail.‎