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Virgil Exner: Wizjoner: Oficjalna biografia Virgila M. Exnera, projektanta E..–
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Parametry przedmiotu
- Stan
- Bardzo dobry
- Uwagi sprzedawcy
- “Hardback--excellent ccondition”
- ISBN
- 9781845841188
- Book Title
- Virgil Exner: Visioneer : the Official Biography of Virgil M. Exner, Designer Extraordinaire
- Item Length
- 10 in
- Publisher
- Veloce Publishing The Limited
- Publication Year
- 2007
- Format
- Hardcover
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.8 in
- Genre
- Design, Biography & Autobiography, Technology & Engineering, Transportation, Business & Economics
- Topic
- Industries / Automobile Industry, Industrial, Automotive / General, Environmentalists & Naturalists, Automotive, Science & Technology, Automotive / Antique & Classic
- Item Width
- 8.5 in
- Item Weight
- 33.8 Oz
- Number of Pages
- 160 Pages
O tym produkcie
Product Information
The official biography. An in-depth look at the last of the great auto-designers of the 20th century. His glorious achievements and his personal tragedies. With many previously unseen works of art and family photos among the 150 color images throughout this is a unique and fascinating insight into a pivotal player in the development of the modern automobile.
Product Identifiers
Publisher
Veloce Publishing The Limited
ISBN-10
1845841182
ISBN-13
9781845841188
eBay Product ID (ePID)
59104367
Product Key Features
Book Title
Virgil Exner: Visioneer : the Official Biography of Virgil M. Exner, Designer Extraordinaire
Format
Hardcover
Language
English
Topic
Industries / Automobile Industry, Industrial, Automotive / General, Environmentalists & Naturalists, Automotive, Science & Technology, Automotive / Antique & Classic
Publication Year
2007
Illustrator
Yes
Genre
Design, Biography & Autobiography, Technology & Engineering, Transportation, Business & Economics
Number of Pages
160 Pages
Dimensions
Item Length
10 in
Item Height
0.8 in
Item Width
8.5 in
Item Weight
33.8 Oz
Additional Product Features
Intended Audience
Trade
Lc Classification Number
Tl140
Reviews
Freedom magazine, December 2007 Brooklands Group, UK Tribute to a design genius Chrysler designer Virgil Exner's flair and daring made the brand top dog for style in the late 1950s and early 1960s. His famous 'forward look' made his finned creations appear to be surging ahead even when stationary. When journalist Peter Grist, founder of the Chrysler Corp Club UK, realised that all his favorite cars had been designed by Exner, he was astonished to find that no one had written a biography of Exner's life. He has now put that right. Grist's new book, 'Virgil Exner Visioneer', is an intimate portrait of Exner. It reveals how he became one of the greatest car designers of the 20th century. Grist says: "In his day, Exner was like a pop star. He was the automotive Elvis Presley. He had Gary Cooper's looks so he was featured in many Chrysler ads." Exner's son Virgil M Exner Jr gave Grist extensive access to family photos and original artwork. He was also the star guest at the book's launch event in September, at Exner's university, Notre Dame in South Bend, Indiana. Chrysler brought 13 Exner-designed concept cars to the celebration and visitors came from all over the world, some with their cars., Review from Car Collector magazine, May 2008 I had the honor of knowing several of the greatest 20th century designers, Frank Hershey, Gordon Buebrig, Ralph Roberts, Tom Hibbard, and Alec Tremulis. All of them left an indelible mark on the history of automotive design, and Virgil Exner, who I never had the good fortune of meeting, belongs on any list of legendary 20th century American stylists. His influence on 1950s automotive styling is second only to Harley Farl's. Author Peter Grist takes Exner's legendary career to task in this superb official biography. The book begins with a foreword by Virgil M Exner Jr, who describes his father as a "... romantic at heart. He loved the Wild West, collected guns, a few swords, [and] he liked to read about Civil War battles." Not exactly the depiction of a man who almost single-handedly turned the American automotive industry on its ear in the 1950s. As the author unravels the chain of events that led Exner from Studebaker to Chrysler, one can see that it was almost Ex's destiny to step in and change Chrysler's future, and that of American automotive styling in the 1950s. In 1949 he almost became chief designer at Ford, but fate instead directed him to K T Keller at Chrysler. The rest, as they say, is history. Grist tells that story in chapter four, a remarkable 61 pages in length and so lavishly illustrated that it makes the entire book worth purchasing. Chapters five, six, and seven, bring the story full circle with Exner's decline at Chrysler in the early 1960s and the changes that came after he was replaced as Vice President of Styling by ex-Ford designer Elwood Engel. In one of the most interesting design segues of the mid-20th century, Grist tells how Exner moved from designing sleek American cars to styling sleek American speedboats in the 1960s, doing for powerboats what he had done for automobiles. Among his designs in the 1960s were the concept Mercer Cobra, the 1965 Bugatti 101C-X, the 1966 Duesenberg concept (which greatly influenced the design of the Mk III Continental), and of course, the trendy Stutz Blackhawk models produced from 1968 to 1988. Grist concludes the book with a look at another side of Virgil Exner, his beautiful watercolor and acrylic paintings, and a final chapter on the equally interesting career of Virgil Exner Jr, who spent many years working alongside his father, as well as becoming a successful stylist in his own right. This is a book that goes under the skin and into the mind of a legendary stylist and his creations. It is an intuitive and beautifully illustrated work that belongs on every auto enthusiast's book shelf., Avanti magazine, Winter 2007 Review by Lewis Schucart Quarterly publication of the Avanti Owners Association International USA If not for the advertising experience and hence, automotive design experience that Virgil Exner gained from Studebaker, the design history of Chrysler Corp. might be much different. In the recently released hardbound book by British author Peter Grist, we learn that art and design was a staple of the young designer's life while growing up in Buchanan, Mich., just 12 miles from South Bend. Exner would eventually attend Notre Dame University there, and later work for an advertising company, and later, Studebaker, on his way to Chrysler greatness. Exner was an art student at Notre Dame in the 1920s and he went on to become one of the world's great automobile designers, responsible for the Chrysler Corporation's 'Forward Look' of the 1950s and 60s. His style was inspired by race cars, airliners and speedboats. He was known for his sleek styling and his use of tail fins, which he claimed added stability at highway speeds. The aesthetic was dubbed the 'Forward Look', which set new design standards for all automobile manufacturers and designers. He studied design at Notre Dame from 1926 to 1928, but dropped out when his money ran out. He took a job with Advertising Artists Inc., a South Bend advertising agency that had the Studebaker account. Exner began dabbling in auto design back in the 1920s, and his early work was for General Motors. In 1938, Exner joined Raymond Loewy Associates, led by the industrial designer and Avanti creator Raymond Loewy. While with Loewy Associates, Exner was assigned to Loewy's account with Studebaker in South Bend. He worked on cars and military vehicles just before and during World War II, heading Studebaker's design activity for Loewy. In what later was to become a parting between the two designers, Studebaker's chief engineer convinced Exner to work secretly at home on an alternative design for the first post-war cars. When the designs were unveiled in 1944, Exner's model gained Studebaker approval. According to the book's author, the two men didn't get along. "Loewy always took credit for his designers' work, saying he personally created each design", Grist said while at a book signing in South Bend. "'Ex' took umbrage at this and Loewy's arrogant manner." But in fairness to both men, those that worked for each enjoyed their time under the men's watch and held both with high respect. Although the book points out on several occasions that Exner preferred to work alone probably from his years of working on personal projects from the basement of his home. By the time he took the reins at Chrysler design studios, he was set up in a private office, apart from the other 17 designers and modelers at the time. Exner felt "right at home" in his new studio. A variety of internal politics at Studebaker conspired to favor Exner's new post-war 1947 Studebaker over the design that Loewy's team of designers had been working on at the same time. Loewy knew about the dual projects that lead up to the 1947 automobiles, but due to his contract with Studebaker, there was little he could do about the situation. Loewy fired Exner, who immediately was hired by Studebaker as chief of design. He was involved in the first cars to be produced after the war. Studebaker's advertising slogan was: "First by far with a post-war car." Some auto enthusiasts believe Exner was the main designer of the acclaimed 1947 Studebaker Champion Starlight coupe, although Loewy got the credit. The car was known for its full body size and integrated fenders. In the book, Grist writes that Exner was solely responsible for the design of t, Review from Car Collector magazine, May 2008 US magazine I had the honor of knowing several of the greatest 20th century designers, Frank Hershey, Gordon Buebrig, Ralph Roberts, Tom Hibbard, and Alec Tremulis. All of them left an indelible mark on the history of automotive design, and Virgil Exner, who I never had the good fortune of meeting, belongs on any list of legendary 20th century American stylists. His influence on 1950s automotive styling is second only to Harley Farl's. Author Peter Grist takes Exner's legendary career to task in this superb official biography. The book begins with a foreword by Virgil M Exner Jr, who describes his father as a "... romantic at heart. He loved the Wild West, collected guns, a few swords, [and] he liked to read about Civil War battles." Not exactly the depiction of a man who almost single-handedly turned the American automotive industry on its ear in the 1950s. As the author unravels the chain of events that led Exner from Studebaker to Chrysler, one can see that it was almost Ex's destiny to step in and change Chrysler's future, and that of American automotive styling in the 1950s. In 1949 he almost became chief designer at Ford, but fate instead directed him to K T Keller at Chrysler. The rest, as they say, is history. Grist tells that story in chapter four, a remarkable 61 pages in length and so lavishly illustrated that it makes the entire book worth purchasing. Chapters five, six, and seven, bring the story full circle with Exner's decline at Chrysler in the early 1960s and the changes that came after he was replaced as Vice President of Styling by ex-Ford designer Elwood Engel. In one of the most interesting design segues of the mid-20th century, Grist tells how Exner moved from designing sleek American cars to styling sleek American speedboats in the 1960s, doing for powerboats what he had done for automobiles. Among his designs in the 1960s were the concept Mercer Cobra, the 1965 Bugatti 101C-X, the 1966 Duesenberg concept (which greatly influenced the design of the Mk III Continental), and of course, the trendy Stutz Blackhawk models produced from 1968 to 1988. Grist concludes the book with a look at another side of Virgil Exner, his beautiful watercolor and acrylic paintings, and a final chapter on the equally interesting career of Virgil Exner Jr, who spent many years working alongside his father, as well as becoming a successful stylist in his own right. This is a book that goes under the skin and into the mind of a legendary stylist and his creations. It is an intuitive and beautifully illustrated work that belongs on every auto enthusiast's book shelf., Yves Sarre forwww.autozine.be, October 2007 and the forthcoming edition of Oldtimer/Dreamcar magazine Virgil Exner was one of the gifted designers who gave the American car its typical charm and glamour in the years after the Second World War. His career was influenced by the styling gods Harley Earl and Raymond Loewy and he worked together with Gordon Buehrig, Frank Hershey and Bill Mitchell. We have known of worse references … His real reputation was made when he started working for Chrysler. This marque was in trouble in the early fifties because of its dull and boring styling. Together with the Italian 'crazier' Ghia he brought new styling ideas, but he became immortal with the Forward Look Chryslers of 1957 (supported with the publicity slogan 'Suddenly its 1960'). We can only say: this book is top class and belongs in every car library., Australian Classic Car, February 2008 While I don't hold a strong affection for new cars these days, I'll admit that I admire the bold, assertive style of Chrysler's 300 Series. Its style, especially around the front recalls the 1950s when Chrysler wooed stylist Virgil Exner away from Studebaker. It was a time when companies replaced the drab, carry-over, pre-war styles with the flowing extravagance of the 1950s, many of which had a helping hand from Virgil Exner. This publication is Exner's story, both private and public, from his school days when his drawing prowess was first recognised to his career styling boats and cars during the 1970s. If the evolution of the automobile in the US is of interest, you will find this biography quite fascinating. Through Exner's work, it's possible to track the changes during almost 40 years. Responsible for Studebaker's Startlight Coupé, Chrysler's C-300 of the 1950s, and 1960s Imperial and Valiant, he even designed the body for the last Bugatti Type 101. I could be persuaded to own the Exner-designed 1953 De Soto Adventurer any time. The book does not reflect only the good times, covering for example the death of Exner's son Brian, but nevertheless comes highly recommended., Yves Sarre for www.autozine.be, October 2007 and the forthcoming edition of Oldtimer/Dreamcar magazine Virgil Exner was one of the gifted designers who gave the American car its typical charm and glamour in the years after the Second World War. His career was influenced by the styling gods Harley Earl and Raymond Loewy and he worked together with Gordon Buehrig, Frank Hershey and Bill Mitchell. We have known of worse references ... His real reputation was made when he started working for Chrysler. This marque was in trouble in the early fifties because of its dull and boring styling. Together with the Italian 'crazier' Ghia he brought new styling ideas, but he became immortal with the Forward Look Chryslers of 1957 (supported with the publicity slogan 'Suddenly its 1960'). We can only say: this book is top class and belongs in every car library., Classic Cars, January 2008 This very readable biography of one of Americas most influential automotive designers introduces you to the politics and personal dramas that shaped the cars of the fifties and sixties as much as the prevailing aesthetics of the studios. The sweeping fins, long flanks and outlandish front-end designs act as a recurring motif throughout his work for the likes of Chrysler, Ghia and Karmann. Also included are examples of Exner's power-boat designs and his fine-art painting. It's as much a book for enthusiasts of design and aesthetics as it is for American car fans. The Automobile, January 2008 As a student of automotive style I found this official biography exceptionally interesting, a long overdue and well-illustrated, complete life story of one of the most important designers of the 1950s and '60s. It is official as the De Soto-owning author has had much help from Virgil Exner Junior, himself a designer who worked alongside his father. Exner, ever an artist, started his automotive career in an advertising agency with the Studebaker account. He joined Harley Earl's fledgling Art and Color Section at GM in 1934, rising to head the Pontiac section a year later. He joined Raymond Loewy in 1938, working mostly on Studebaker before being employed by them in 1945. His move to Chrysler adn international fame came in 1949. Few would forget the products of his association with Ghia. Having stayed at Chrysler till 1962, he set up on his own. He effectively created retro-styling, vide his creation on the Bugatti 101 and the Stutz Blackhawk and became equally known in the boating world. An interesting character well recalled, and we learn much about other well-known designers of the time., Classic Cars, January 2008 Review by Rob Scorah UK magazine This very readable biography of one of Americas most influential automotive designers introduces you to the politics and personal dramas that shaped the cars of the fifties and sixties as much as the prevailing aesthetics of the studios. The sweeping fins, long flanks and outlandish front-end designs act as a recurring motif throughout his work for the likes of Chrysler, Ghia and Karmann. Also included are examples of Exner's power-boat designs and his fine-art painting. It's as much a book for enthusiasts of design and aesthetics as it is for American car fans. The Automobile, January 2008 As a student of automotive style I found this official biography exceptionally interesting, a long overdue and well-illustrated, complete life story of one of the most important designers of the 1950s and '60s. It is official as the De Soto-owning author has had much help from Virgil Exner Junior, himself a designer who worked alongside his father. Exner, ever an artist, started his automotive career in an advertising agency with the Studebaker account. He joined Harley Earl's fledgling Art and Color Section at GM in 1934, rising to head the Pontiac section a year later. He joined Raymond Loewy in 1938, working mostly on Studebaker before being employed by them in 1945. His move to Chrysler adn international fame came in 1949. Few would forget the products of his association with Ghia. Having stayed at Chrysler till 1962, he set up on his own. He effectively created retro-styling, vide his creation on the Bugatti 101 and the Stutz Blackhawk and became equally known in the boating world. An interesting character well recalled, and we learn much about other well-known designers of the time. , Australian Classic Car, February 2008 Australian magazine While I don’t hold a strong affection for new cars these days, I’ll admit that I admire the bold, assertive style of Chrysler’s 300 Series. Its style, especially around the front recalls the 1950s when Chrysler wooed stylist Virgil Exner away from Studebaker. It was a time when companies replaced the drab, carry-over, pre-war styles with the flowing extravagance of the 1950s, many of which had a helping hand from Virgil Exner. This publication is Exner’s story, both private and public, from his school days when his drawing prowess was first recognised to his career styling boats and cars during the 1970s. If the evolution of the automobile in the US is of interest, you will find this biography quite fascinating. Through Exner’s work, it’s possible to track the changes during almost 40 years. Responsible for Studebaker’s Startlight Coup , Chrysler’s C-300 of the 1950s, and 1960s Imperial and Valiant, he even designed the body for the last Bugatti Type 101. I could be persuaded to own the Exner-designed 1953 De Soto Adventurer any time. The book does not reflect only the good times, covering for example the death of Exner’s son Brian, but nevertheless comes highly recommended., Classic Cars, January 2008 Review by Rob Scorah UK magazine This very readable biography of one of Americas most influential automotive designers introduces you to the politics and personal dramas that shaped the cars of the fifties and sixties as much as the prevailing aesthetics of the studios. The sweeping fins, long flanks and outlandish front-end designs act as a recurring motif throughout his work for the likes of Chrysler, Ghia and Karmann. Also included are examples of Exner's power-boat designs and his fine-art painting. It's as much a book for enthusiasts of design and aesthetics as it is for American car fans. The Automobile, January 2008 As a student of automotive style I found this official biography exceptionally interesting, a long overdue and well-illustrated, complete life story of one of the most important designers of the 1950s and '60s. It is official as the De Soto-owning author has had much help from Virgil Exner Junior, himself a designer who worked alongside his father. Exner, ever an artist, started his automotive career in an advertising agency with the Studebaker account. He joined Harley Earl’s fledgling Art and Color Section at GM in 1934, rising to head the Pontiac section a year later. He joined Raymond Loewy in 1938, working mostly on Studebaker before being employed by them in 1945. His move to Chrysler adn international fame came in 1949. Few would forget the products of his association with Ghia. Having stayed at Chrysler till 1962, he set up on his own. He effectively created retro-styling, vide his creation on the Bugatti 101 and the Stutz Blackhawk and became equally known in the boating world. An interesting character well recalled, and we learn much about other well-known designers of the time., Classic Cars, January 2008 Review by Rob Scorah UK magazine This very readable biography of one of Americas most influential automotive designers introduces you to the politics and personal dramas that shaped the cars of the fifties and sixties as much as the prevailing aesthetics of the studios. The sweeping fins, long flanks and outlandish front-end designs act as a recurring motif throughout his work for the likes of Chrysler, Ghia and Karmann. Also included are examples of Exner's power-boat designs and his fine-art painting. It's as much a book for enthusiasts of design and aesthetics as it is for American car fans. The Automobile, January 2008 As a student of automotive style I found this official biography exceptionally interesting, a long overdue and well-illustrated, complete life story of one of the most important designers of the 1950s and '60s. It is official as the De Soto-owning author has had much help from Virgil Exner Junior, himself a designer who worked alongside his father. Exner, ever an artist, started his automotive career in an advertising agency with the Studebaker account. He joined Harley Earl's fledgling Art and Color Section at GM in 1934, rising to head the Pontiac section a year later. He joined Raymond Loewy in 1938, working mostly on Studebaker before being employed by them in 1945. His move to Chrysler adn international fame came in 1949. Few would forget the products of his association with Ghia. Having stayed at Chrysler till 1962, he set up on his own. He effectively created retro-styling, vide his creation on the Bugatti 101 and the Stutz Blackhawk and became equally known in the boating world. An interesting character well recalled, and we learn much about other well-known designers of the time. , Australian Classic Car, February 2008 Australian magazine While I don't hold a strong affection for new cars these days, I'll admit that I admire the bold, assertive style of Chrysler's 300 Series. Its style, especially around the front recalls the 1950s when Chrysler wooed stylist Virgil Exner away from Studebaker. It was a time when companies replaced the drab, carry-over, pre-war styles with the flowing extravagance of the 1950s, many of which had a helping hand from Virgil Exner. This publication is Exner's story, both private and public, from his school days when his drawing prowess was first recognised to his career styling boats and cars during the 1970s. If the evolution of the automobile in the US is of interest, you will find this biography quite fascinating. Through Exner's work, it's possible to track the changes during almost 40 years. Responsible for Studebaker's Startlight CoupÉ, Chrysler's C-300 of the 1950s, and 1960s Imperial and Valiant, he even designed the body for the last Bugatti Type 101. I could be persuaded to own the Exner-designed 1953 De Soto Adventurer any time. The book does not reflect only the good times, covering for example the death of Exner's son Brian, but nevertheless comes highly recommended., Review from Car Collector magazine, May 2008 US magazine I had the honor of knowing several of the greatest 20th century designers, Frank Hershey, Gordon Buebrig, Ralph Roberts, Tom Hibbard, and Alec Tremulis. All of them left an indelible mark on the history of automotive design, and Virgil Exner, who I never had the good fortune of meeting, belongs on any list of legendary 20th century American stylists. His influence on 1950s automotive styling is second only to Harley Farl's. Author Peter Grist takes Exner's legendary career to task in this superb official biography. The book begins with a foreword by Virgil M Exner Jr, who describes his father as a "... romantic at heart. He loved the Wild West, collected guns, a few swords, [and] he liked to read about Civil War battles." Not exactly the depiction of a man who almost single-handedly turned the American automotive industry on its ear in the 1950s. As the author unravels the chain of events that led Exner from Studebaker to Chrysler, one can see that it was almost Ex's destiny to step in and change Chrysler's future, and that of American automotive styling in the 1950s. In 1949 he almost became chief designer at Ford, but fate instead directed him to K T Keller at Chrysler. The rest, as they say, is history. Grist tells that story in chapter four, a remarkable 61 pages in length and so lavishly illustrated that it makes the entire book worth purchasing. Chapters five, six, and seven, bring the story full circle with Exner's decline at Chrysler in the early 1960s and the changes that came after he was replaced as Vice President of Styling by ex-Ford designer Elwood Engel. In one of the most interesting design segues of the mid-20th century, Grist tells how Exner moved from designing sleek American cars to styling sleek American speedboats in the 1960s, doing for powerboats what he had done for automobiles. Among his designs in the 1960s were the concept Mercer Cobra, the 1965 Bugatti 101C-X, the 1966 Duesenberg concept (which greatly influenced the design of the Mk III Continental), and of course, the trendy Stutz Blackhawk models produced from 1968 to 1988. Grist concludes the book with a look at another side of Virgil Exner, his beautiful watercolor and acrylic paintings, and a final chapter on the equally interesting career of Virgil Exner Jr, who spent many years working alongside his father, as well as becoming a successful stylist in his own right. This is a book that goes under the skin and into the mind of a legendary stylist and his creations. It is an intuitive and beautifully illustrated work that belongs on every auto enthusiast's book shelf., Octane, October 2007- UK magazine How ironic that the official biography of Virgil Exner, one of America's most influential car designers and instigator of the Chrysler 'Forward Look' that put the fins into the fifties, should have been written by a Brit ... Peter Grist has received the help and blessing of Exner's son Virgil junior, for his book, and publisher Veloce's trademark use of big, colorful illustrations is appropriate for his subject's glitzy, showbiz style, Grist has worked hard to round out Exner's persona, as well as his business life, and there are snapshots and sketches from his teenage years to counterbalance the inevitable emphasis on his 1950s career highs. Exner's 1960s fastback powerboat designs make an interesting comparison with contemporary cars, but perhaps most intriguing is his private artwork; at the time of his death he was planning a series of paintings of European castles., Hemmings Classic Car, November 2007 - US magazine This is not a paean to the tailfin. If you think it is, you're just underscoring why this book is so important. Too many people today dismiss 'Ex' as the guy under whose tutelage Chrysler styling ran amok. It's a common notion. It's also inaccurate and grossly unfair. This exceptional biography demonstrates as much. Grist produced this 160-page hardcover book with the cooperation of the Exner family. Its 160 photos and drawings recount a life that many among us mortals might dream of imitating. It starts out, for instance, with his copybook doodling of Stutz bodies. Private photos give an insight into Exner's personal endurance of tragedy, including the accidental death of his first-born son. They also form the legacy of a design genius who was never intimidated by pushing outward on convention, unlike a lot of powers in the business he chose. Delights abound. Who knew, for instance, that the Volkswagen Karmann Ghia was directly inspired by Exner's Chrysler D'Elegance concept? Compare them and you'll see. Did you realize that Exner was bed-ridden, near death from a massive coronary, when he learned that his magnum opus, the Chrysler Norseman, had gone down with the Andrea Doria? The hobby needs books like these more than cud-regurgitated marque histories. It's great, and an essential for Chrysler historians.
Copyright Date
2007
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Lithia, Florida, Stany Zjednoczone
Wysyłka do:
Afganistan, Albania, Algieria, Andora, Angola, Anguilla, Antigua i Barbuda, Arabia Saudyjska, Argentyna, Armenia, Aruba, Australia, Austria, Azerbejdżan, Bahamy, Bahrajn, Bangladesz, Belgia, Belize, Benin, Bermudy, Bhutan, Boliwia, Botswana, Bośnia i Hercegowina, Brazylia, Brunei, Burkina Faso, Burundi, Bułgaria, Chile, Chiny, Chorwacja, Cypr, Czad, Czarnogóra, Czechy, Dania, Demokratyczna Republika Konga, Dominikana, Dżibuti, Egipt, Ekwador, Erytrea, Estonia, Eswatini, Etiopia, Fidżi, Filipiny, Finlandia, Francja, Gabon, Gambia, Ghana, Gibraltar, Grecja, Grenada, Grenlandia, Gruzja, Gujana, Gwatemala, Gwinea, Gwinea Bissau, Gwinea Równikowa, Haiti, Hiszpania, Holandia, Honduras, Hongkong, Indie, Indonezja, Irlandia, Islandia, Izrael, Jamajka, Japonia, Jemen, Jordania, Kajmany, Kambodża, Kamerun, Kanada, Katar, Kazachstan, Kenia, Kirgistan, Kiribati, Kolumbia, Kongo, Korea Południowa, Kostaryka, Kuwejt, Laos, Lesotho, Liban, Liberia, Liechtenstein, Litwa, Luksemburg, Macedonia Północna, Madagaskar, Makau, Malawi, Malediwy, Malezja, Mali, Malta, Maroko, Mauretania, Mauritius, Meksyk, Monako, Mongolia, Montserrat, Mozambik, Mołdawia, Namibia, Nauru, Nepal, Niemcy, Niger, Nigeria, Nikaragua, Norwegia, Nowa Zelandia, Oman, Pakistan, Panama, Papua-Nowa Gwinea, Paragwaj, Peru, Polska, Portugalia, Południowa Afryka, Republika Zielonego Przylądka, Republika Środkowoafrykańska, Rumunia, Rwanda, Saint Kitts i Nevis, Saint Lucia, Saint Vincent i Grenadyny, Salwador, Samoa Zachodnie, San Marino, Senegal, Serbia, Seszele, Sierra Leone, Singapur, Sri Lanka, Stany Zjednoczone, Surinam, Szwajcaria, Szwecja, Słowacja, Słowenia, Tadżykistan, Tajlandia, Tajwan, Tanzania, Togo, Tonga, Trynidad i Tobago, Tunezja, Turcja, Turkmenistan, Turks i Caicos, Uganda, Urugwaj, Uzbekistan, Vanuatu, Wallis i Futuna, Watykan, Wielka Brytania, Wietnam, Wybrzeże Kości Słoniowej, Wyspy Salomona, Węgry, Włochy, Zambia, Zimbabwe, Zjednoczone Emiraty Arabskie, Łotwa
Wykluczenia:
Barbados, Gujana Francuska, Gwadelupa, Libia, Martynika, Nowa Kaledonia, Polinezja Francuska, Reunion, Rosja, Ukraina, Wenezuela
| Wysyłka i obsługa | Do | Usługa | Dostawa*Zobacz uwagi o dostawie |
|---|---|---|---|
| US $7,45 (około 29,85 zł) | Stany Zjednoczone | Economy Shipping | Szacowana między Pn, 17 cze a Cz, 20 cze do 43230 |
| US $12,13 (około 48,60 zł) | Stany Zjednoczone | Expedited Shipping | Szacowana między So, 15 cze a Wt, 18 cze do 43230 |
| Czas na wysłanie |
|---|
| Zwykle wysyłam przesyłkę w ciągu 2 dni roboczych po otrzymaniu rozliczonej płatności. |
| Podatki |
|---|
| Podczas realizacji transakcji mogą zostać naliczone podatki. Dowiedz się więcejDowiedz się więcej o płaceniu podatku za zakupy na eBay. |
Podatek od sprzedaży dla przedmiotu nr 266821508746
Podatek od sprzedaży dla przedmiotu nr 266821508746
Sprzedawca nalicza podatek od sprzedaży dla przedmiotów wysyłanych do następujących stanów:
| Stan | Stawka podatku od sprzedaży |
|---|
Warunki zwrotów
| Szczegóły warunków zwrotów |
|---|
| W przypadku tego przedmiotu sprzedawca nie przyjmuje zwrotów. |
Szczegóły dotyczące płatności
Formy płatności
Zarejestrowany jako prywatny sprzedawca
W związku z tym prawa konsumenckie wynikające z przepisów EU o ochronie konsumentów nie obowiązują. W przypadku większości zakupów nadal obowiązuje Ochrona kupujących eBay. Dowiedz się więcejDowiedz się więcej
Opinie sprzedawców (1 174)
y***y (81)- Opinie wystawione przez kupującego.
Ostatni miesiąc
Zakup potwierdzony
Thanks!
6***n (245)- Opinie wystawione przez kupującego.
Ostatni miesiąc
Zakup potwierdzony
Book arrived quickly and is exactly as pictured and described.
y***0 (376)- Opinie wystawione przez kupującego.
Ostatni miesiąc
Zakup potwierdzony
Very pleased