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- s.n., Paris 1913, 14x22,5cm, une feuille. - Estampe originale en couleur, tirée sur papier vergé, signature non-identifiée en bas à droite de la planche. L'une des premières revues de mode françaises, parue quelques temps avant la fameuse Gazette du bon ton et réunissant les grands artistes français de la mouvance Art déco. Le Journal des dames et des modes est une revue trimensuelle de mode française illustrée créée en 1797. Sa publication est stoppée en 1839 avant d'être reprise en juin 1912 sous l'impulsion de Tommaso Antongini, le secrétaire, ami et biographe de Gabriele d'Annunzio. Elle disparaîtra en août 1914 à l'aube de la Première Guerre mondiale. La revue était tirée à 1279 exemplaires ce qui en fait, pour l'époque, une publication relativement confidentielle. Les 186 planches, d'une grande finesse, sont gravées sur papier fort puis coloriées au pochoir. Elles représentent, la majorité du temps, des femmes, mais aussi des hommes et des enfants. Les modèles ne sont pas, à la différence de ceux de la Gazette du bon ton dont la publication verra le jour quelques mois plus tard, ceux des couturiers de renom mais sont le fruit de l'imagination des illustrateurs eux-mêmes. Les pochoirs sont, la plupart du temps, exécutés par George Barbier, mais d'autres artistes collaborent à la revue : Léon Bakst, B. Berty, Bernard Boutet de Monvel, Roger Broders, Jan van Brock, Umberto Brunelleschi, H. Robert Dammy, Étienne Drian, Abel Faivre, Marie-Madeleine Franc-Nohain, Xavier Gosé, Paul Iribe, Kriegck, Victor Lhuer, Pierre Legrain, Charles Martin, Fernand Siméon, Ismael Smith, Armand Vallée et Gerda Wegener. Nombre de ces illustrateurs seront également associés à La Gazette du bon ton. Leurs travaux, emblématiques du mouvement Art déco, soulignent l'influence de l'orientalisme et des costumes des ballets russes tout en les inscrivant dans les activités quotidiennes des Français aisés de l'époque. Dès la préface du premier numéro de 1912, Anatole France déclare : « Au bout de soixante-quinze ans, il renaît. Il renaît par les soins de quelques esprits ingénieux et artistes. Il renaît pour les curieux (s'il en est encore) que ne contentent pas les journaux de modes tirés à plusieurs milliers et illustrés par la photographie. Et si les éditeurs nous rendent très exactement, dans son format, avec son papier, son impression, ses procédés de gravure et de coloris, le vieux classique des modes d'autrefois, c'est qu'ils entendent le continuer agréablement et devenir les classiques charmants de la mode d'aujourd'hui et de demain. » [ENGLISH DESCRIPTION ON DEMAND]
- Lucien Vogel éditeur, Paris 1922, 18x24cm, relié. - Set of eight original prints in color, drawn on laid paper. The boards are introduced by a text signed Joan Ramon Fernandez. The sketches are signed XIX and XXI David, respectively on the lower right and left boards. Original prints made ??for the illustration of The Gazette fashionable, one of the finest and most influential twentieth century fashion magazines, celebrating the talent of creators and artists French burgeoning art deco. Famous fashion magazine founded in 1912 by Lucien Vogel, The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920, due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication, these luxury publications "are for bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "good Gazette of tone" in the fashion dictionary, 2016). Printed on fine laid paper, they use a typeface created specifically for the magazine by Georges Peignot, the Cochin character, taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil, enhanced color and some outlined in gold or palladium. The adventure began in 1912 when Lucien Vogel, man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff (John's sister, the father of Babar) Gazette good tone in which the subtitle is then "Art, fashions and frivolities." Georges Charensol quotes the editor: "In 1910, he observed, there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists [...] I was certain of success because for any fashion country can compete with France. "(" A great art editor. Lucien Vogel "in literary News, No. 133, May 1925). The success of the magazine is immediate, not only in France but also the US and South America. Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier, Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Halouze Alexander Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel appealed to them, will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette. The boards highlight the dresses and sublime seven artists of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless, some of Illustrations contained no real model, but only the idea that the illustrator is done in the fashion of the day. Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit, it brings together for the first time the great talents of the world of arts, literature and fashion and imposed by this alchemy, a new image of women, slender, independent and bold, also driven by the new generation of designers Coco Chanel, Jean Patou, Rochas Marcel ... Recovery in 1920 by Condé Montrose Nast, Gazette fashionable modeled for the new composition and the aesthetic choices of the "little dying newspaper" that Nast had bought a few years ago: the Vogue magazine. [FRENCH VERSION FOLLOWS] Ensemble de huit estampes originales en couleur, tirées sur papier vergé. Les planches sont introduites par un texte signé L. R. F. Les croquis L, LII, LIII, LV, sont signés David, respectivement en bas à droite et à gauche des planches. Reliure à la br
27x21 cm. 261 pages. Softcover in dust jacket. In good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
A clean, unmarked book with a tight binding. Full green cloth boards. 12"w x 12"h. 128 pages. Beautiful full page color reproductions from the print collection of W. Graham Arader II. Includes work by printmakers Theodor de Bry, George Catlin, Mark Catesby, John James Audubon, and more.
Serigrafia materica originale eseguita con 20 passaggi di colore, stampata per la cartella ''11'' a cura di Gianfranco Pardi Firma e numerazione a matita. Stampata dalla Seri-Arte di Gorle (Bergamo) su carta Fabriano gr 300. Esemplare 102/150. Cm 46x57 (Foglio 56x76). . . Ottimo (Fine). . Tiratura 150. .
Acquaforte originale Certificato del Comitato Direttivo del Club dell'Incisione Venezia Viva, attestante l'autenticità dell'incisione eseguita espressamente per i soci e tirata a mano su torchio calcografico a stella in n. 60 + XX esemplari. Esemplare 3/60.. Cm 29x25 (Foglio 70x50). . . Ottimo (Fine). . Tiratura 60 + XX. .
280x220 mm. 143 pages. Softcover. Covers slightly yellowing and slightly stained. Cover corners slightly wrinkled. Rear cover upper edge slightly torn. Spine rubbed and worn. Spine edges worn. Else in good condition.
- Bramsen et Georges Clot s.d. (1971), 48,7x65,6cm, une feuille. - Lithographie originale imprimée sur vélin d'arches filigrané. Signature de l'artiste et numérotation (4/300) au crayon en bas de la planche. Cette lithographie intitulée "La cafetière" fait partie de la série L'Intérieur des choses. [ENGLISH DESCRIPTION ON DEMAND]
- Lucien Vogel éditeur, Paris Septembre 1913, 19x24,5cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. Gravure originale réalisée pour
30X24 cm. 142 pages. Softcover in dust jacket. Inner cover pages slightly stained. Else in good condition.
- Louis Broder, Paris s.d. (ca 1961), 20x24,1cm, une feuille. - Estampe originale de Jean Arp imprimée sur japon et réalisée pour l'ouvrage Feuilles éparses en hommage à René Crevel. Très bel exemplaire. [ENGLISH DESCRIPTION ON DEMAND]
Engraved map in 36 segments on canvas, folded. Fine original hand-colour. Ca. 1450 x 1230 mm. Earliest edition of this wall map, the most accurate map of Asia published at the beginning of the 19th century. It shows significant advancement compared with other maps of the period, incorporating the work of surveyors like James Rennell, to whom the map was dedicated. Rennell was surveyor-general of the East India Company's dominions in Bengal, and the information published in his "Bengal Atlas" in 1779 appears here. Arrowsmith also included remarkable topographical detail such as mountain ranges in regions as remote as Tibet. Remarkably, the region on the shore of the Arabian Gulf is already labelled as "Bani Yas" territory. Arrowsmith has marked the track of Lapérouse's voyage in the Indian Ocean and Far East. - Aaron Arrowsmith (1750-1823) was the finest cartographer of his generation. Although he received little formal education, it is believed that he was provided with some mathematical instruction by William Emerson, an author of several books on the application of mathematics to the area of cartography. Around 1770, Arrowsmith moved to London to seek employment. It is believed that he worked for William Faden before joining John Cary Sr. in the early 1780s. There he provided the measurements for John Cary's early publication detailing the roads from London to Falmouth, his first signed work. Arrowsmith set up on his own in 1790 and over the next thirty years produced some of the most beautiful and elegant maps of the era. "This highly detailed wall map of Asia is probably one of the most accurate maps of the continent before the completion of the Ordnance Survey maps of 1820" (Sweet). - Slightly soiled and browned, but well preserved. Not in Al Ankary or Al-Qasimi. Cf. Sweet 238 (1811 edition only).
This is an about very good softcover copy with light wear. Completely clean. Soft creases to back cover and pages. Text in French and English. Essay by Serge Lemoine. This is a sale catalog for an auction held at Artcurial in Paris on May 23, 2018. The sale consisted of Japanese prints that were assembled by a private collector in the late 19th and early twentieth centuries. This man lived in Paris and was introduced to Siegfried Bing and Hayashi Tadamasa two well known art dealers specialising in Japanese prints. 49 prints in the sale. All illustrated in color. No prices realized sheet, just price estmates for each lot. 11" high X 8" wide, 60 pages. This book will be securely packed and shipped with tracking.
Dieci incisioni originali, numerate e firmate a matita, di Roberto Stelluti, Luigi Toccacieli, Alfredo Bartolomeoli, Angelo Rosetti, Edgardo Travaglini, Adriano Calavalle, Claudio Polzonetti, Silvano Silvani, Nani Tedeschi e Mario Bellagamba (cm. 20x20, foglio 50x35) Ciascuna incisione, stampata al torchio su carta a mano della cartiera Magnani di Pescia è custodita in un quartino con la riproduzione di un brano del discorso ufficiale di Paolo VI, pronunciato in occasione del viaggio. Fogli sciolti custoditi in cartella in cartoncino "Murillo" della cartiera Milani di Fabriano. Esemplare n. 40. Cm 50x35. . . Ottimo (Fine). . Edizione originale di 99 esemplari numerati. .
Incisione originale a colori, numerata e firmata . Opera appartenente all'edizione "Predelles", con testo poetico di Roberto Sanesi. Acquaforte stampata su torchio a mano nell'Atelier di Mario Boni a Parigi. Esemplare E. A. (Prova d'Artista). Cm 7 x 12,2 (foglio 19 x 28,5). . . Perfetto (Mint). . Edizione originale di 75 es. numerati e firmati dall'artista. .
Puntasecca e carborundum originale a colori Firma e numerazione a matita. Timbro a secco dello stampatore. Tirata a mano sui torchi di Giorgio Upiglio su carta Hahnemuhle. Esemplare I/XXV. cm 64,5x49,5 (Foglio 90x66). pp.. . Perfetto (Mint). . Tiratura XXV. .
A clean, unmarked book with a tight binding. Full white cloth boards. Slight edge wear to cover. 448 pages.
Hand-aquatinted copper-plate engraving, printed on J. Whatman Turkey Mill watermarked paper dated 1835. 955 x 640 mm, sumptuously framed and glazed. The famous depiction of a Falcon from the "Birds of America" by the world-famous French-American naturalist and painter John James Audubon (1785-1851), which was purchased at a Christie's auction for $11.5 million in March 2000, setting a world record for the most expensive book ever sold (surpassed only by the 1640 "Psalm Bay Book", sold for $14.2 million in November 2013). Very good colour, with the back of the upper bird a subtle charcoal, beaks and feet of both birds a pale blue wash, slight limited spotting to the background, slight cast on the edge, and minor thumbing, three edges of the sheet gilt from when it was bound.
7 vols., 8vo., with wood-engraved frontispieces, numerous engraved illustrations in the text and pictorial endpapers; original patterned paper boards, dark cloth backs lettered and tooled in gilt, ivory endpapers, a near fine set in publisher's board slip-case. The text is based on Chapman's definitive edition; the patterned paper boards were designed by Hassall. First published by Folio Society between 1957-1963, with the Second Edition reset in 1975. In this reissue several novels contain additional wood-engravings. Gilson, E281(P&P; 1957); E286(S&S; 1958); E300(MP; 1959); E307(NA; 1960); E328 (P; 1961); E340(E; 1962); F17 (SW; 1963).
286 pages. Exhibition catalog of 244 ukiyo-e prints carefully selected from the Matsukata collection in order to display the history of ukiyo-e prints from their earliest days to the end of the Edo period. Text predominantly in Japanese. Illustrated in colour. Light to moderate wear. Unmarked. Binding tight and square. Sound copy. Book
IN HEBREW AND ENGLISH. 24X17.5 cm. 137 pages. Hardcover. In good condition.
Litografia originale a colori Firma e numerazione a matita. Tirata sui torchi dello stampatore Giorgio Upiglio. Esemplare p.d.a.. cm 70x50. . . Ottimo (Fine). . . .
Cartella di 5 serigrafie originali a colori firmate e numerate di Enrico Baj (cm 36x36) Serigrafie stampate da Brano Horvat. Esemplare 9/100. cm 40,5x41,5. . . Perfetto (Mint). . Edizione originale di 100+V+2 esemplari numerati (Original edition of 100+V+2 numbered copies). .
Acquaforte a colori Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio, Grafica Uno, Milano. Esemplare 13/70. cm 77x53 (Foglio 99x70). . . Ottimo (Fine). . Tiratura 70 + XII esemplari. .
Litografia a colori Firma e numerazione a matita. Certificato di autenticità sul retro di Bolaffio. Esemplare 55/60. Cm 50x39. . . . Macchia sull'angolo inferiore destro del foglio che non compromette la litografia (Waterstain to the wright angle of the paper not including the lithograph). Tiratura 60. .
