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Oblong 4to., First Edition, text in French, with portrait frontispiece and numerous reproductions throughout; original pictorial wrappers, a very good, clean copy. A PRESENTATION COPY FROM SEARLE TO TONY CHARDET WITH THE FORMER'S SIGNED HOLOGRAPH INSCRIPTION AT END. Anthony Chardet was a leading stage director and producer working in London and on Broadway during the 60s, 70s and 80s. SCARCE.
Catalogue de l'exposition "Ukiyo-e, images d'un monde éphémère - Estampes japonaises des XVIIIe et XIXe siècles" présentée en 2008 au Centre cultural Caixa Catalunya La Pedrera, à Barcelone, et à la Bibliothèque Nationale de France (Paris): 126 n°s avec notices, commentaires et reproductions couleurs, souvent pleines ou doubles pages; en classement thématique: technique de l'estampe, théâtre et sumô, "Les beautés féminines et la vie quotidienne", "Estampes parodiques, poèmes et surimono: la culture ludique à l'époque d'Edo", estampes érotiques, "L'avènement de l'estampe de paysage au XIXè siècle": Hokusai et Hiroshige, chaque thème étant introduit par un texte de Gisèle LAMBERT, Christophe MARQUET (pour les estampes érotiques) ou Jocelyn BOUQUILLARD (pour les paysages du XIXè); textes introductifs de Gisèle LAMBERT sur l'histoire de la collection "estampes et livres illustrés de l'art ukiyo-e" de la B.N.F. et sur "L'apparition de l'ukiyo-e à l'époque Edo"; publié sous la direction de Gisèle Lambert et Jocelyn Bouquillard, conservatrices au Département des Estampes de la Bibliothèque nationale de France; index des biographies des principaux dessinateurs; glossaire; bibliographie. Français
A clean, unmarked book with a tight binding. 208 pages. 8 5/8"w x 10 3/4"h. Many b&w illustrations.
SIGNED BY JACOB PINS. 310x240 mm. XIII+275 pages. Softcover. Cover corners and edges slightly wrinkled. Spine edges slightly bumped. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
The catalogue of Firmin-Didot's collection of prints and drawings, one of the best collections ever assembled. 5,795 items described. Printed on fine wove paper. 4to. Attractively bound in contemporary quarter morocco and decorated boards. Light overall wear and scuffing to binding, internally fine.
The best bibliography of materials relating to Goya's prints. Hundreds of items. 8vo. Original wraps. Like new.
The catalogue raisonne of the prints of Dirk de Bray, a contemporary of Rembrandt. 146 items described in great detail. Printed on fine wove paper. Frontispiece etching on chine applique. Bourcard 149: "Non mis dans le commerce." Slim 4to. Original boards. Minimal wear to covers, more wear to backstrip. Internally fine and bright. Very scarce.
viii + 92pp. + 78 planches hors-texte, 33cm., brochure originale (peu tachée), qqs. rousseurs, bon état, poids: 2.1kg., S102817
8vo., First Edition, with 54 plates on 32; original pale blue wrappers printed in red and black, backstrip very lightly browned else a near fine copy. SCARCE.
The monumental catalogue raisonne of all prints by and after Moreau le jeune. XII, 4, 752 pp. plus frontispiece engraved portrait of Moreau, by St Aubin after Cochin. Edition limited to 525 numbered copies, of which this is one of 500 printed on fine laid paper. Over 2,000 items exhaustively described. Thick folio. Elegantly bound in quarter vellum and marbled boards. Original wraps preserved. ENTIRELY UNCUT. FINE AND BRIGHT. A scarce and important book, extremely rare in such fine condition.
Two of Bocher's outstanding catalogues raisonnÈs bound in one volume: the catalogue raisonnÈ of prints after Baudouin and the catalogue raisonnÈ of prints after Chardin. Also included are extensive catalogues of the paintings of each artist. Both limited to 475 numbered copies: the Baudouin catalogue is one of only 25 copies beautifully printed on fine Whatman wove paper; the Chardin catalogue is one of 450 beautifully printed on fine Dutch laid paper. Folio, quarter morocco over marbled boards. Uncut. Light wear to extremities, else fine.
Text in German. Sections on European prints of the 17th century, 18th century, 19th century and the early 20th century. This is one of the classic surveys of print-making. 121 page text and 35 tipped-in color prints on heavy black stock, and hundreds of black & white illustrations. Another volume in the interesting series published by Propylaen Verlag. 10" high X 8" wide, 716 pages. This is a very good hardcover copy in green paper-covered boards, black leather spine with gilt titles. The cover edges are a little worn, but the inside text pages and especially the plates are fresh and clean. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
This is a very good hardcover copy in green paper-covered boards, black leather spine with gilt titles. This copy used to belong to an ivy league university club in New York, and has their bookplate on the inside front cover (with their de-accessioning stamp), and a small blindstamp on the lower corner of the title-page. The covers are a little worn, but the inside text pages and especially the plates are fresh and clean. Text in German. Sections on European prints of the 17th century, 18th century, 19th century and the early 20th century. This is one of the classic surveys of print-making. 121 page text and 35 tipped-in color prints on heavy black stock, and hundreds of black & white illustrations. Another volume in the interesting series published by Propylaen Verlag. 10" high X 8" wide, 716 pages. This book will be securely packed and shipped with tracking.
Litografia a 2 colori Firma a matita. Opera tirata da Giorgio Upiglio. Esemplare 60/100. cm 52x30 (foglio 70x50). . . Ottimo (Fine). . 100 + XX + 3 prove. .
PAYOT LAUSANNE. NON DATE. In-12 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. environ 20 pages - nombreuses reproductions en couleurs hors texte - Couverture contrepliée - COLLECTION ORBIS PICTUS N°18.
Acquaforte originale firmata e numerata a matita (la stampa sciolta, realizzata dall'Artista come augurio per il nuovo anno 1994, è inserita entro quartino con indicazione di titolo, tecnica e anno) Esemplare XX/XX. Cm 15x10,5 (Foglio 22x15). . . Ottimo (Fine). . Tiratura XX (Edition of XX copies). .
- Lucien Vogel éditeur, Paris Mars 1920, 24x37cm, une feuille. - Double 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 double originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. Gravure originale réalisée pour l'
- Lucien Vogel éditeur, Paris Mars 1920, 24x37cm, une feuille. - Estampe double originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. Gravure originale réalisée pour l'illustration de La Gazette du bon ton, l'une des plus belles et des plus influentes revues de mode du XXème siècle, célébrant le talent des créateurs et des artistes français en plein essor de l'art déco. Célèbre revue de mode fondée en 1912 par Lucien Vogel, La Gazette du bon ton a paru jusqu'en 1925 avec une interruption durant la Guerre de 1915 à 1920, pour cause de mobilisation de son rédacteur en chef. Elle se constitue de 69 livraisons tirées à seulement 2000 exemplaires et est illustrée notamment de 573 planches en couleurs et de 148 croquis représentant des modèles de grands couturiers. Dès leur parution, ces luxueuses publications « s'adressent aux bibliophiles et aux mondains esthètes » (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Imprimées sur beau papier vergé, elles utilisent une police typographique spécialement créée pour la revue par Georges Peignot, le caractère Cochin, repris en 1946 par Christian Dior. Les estampes sont réalisées grâce à la technique du pochoir métallique, rehaussées en couleurs et pour certaines soulignées à l'or ou au palladium. L'aventure commence en 1912 lorsque Lucien Vogel, homme du monde et de la mode - il a déjà participé à la revue Femina - décide de fonder avec sa femme Cosette de Brunhoff (sur de Jean, le père de Babar) la Gazette du bon ton dont le sous-titre est alors « Art, modes et frivolités ». Georges Charensol rapporte les propos du rédacteur en chef : « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). Le succès de la revue est immédiat, non seulement en France, mais aussi aux Etats-Unis et en Amérique du Sud. À l'origine, Vogel réunit donc un groupe de sept artistes : André-Édouard Marty et Pierre Brissaud, suivis de Georges Lepape et Dammicourt ; et enfin ses amis de l'École des beaux-arts que sont George Barbier, Bernard Boutet de Monvel, ou Charles Martin. D'autres talents viennent rapidement rejoindre l'équipée : 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, Charles Martin, Maggie Salcedo. Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, deviendront par la suite des figures artistiques emblématiques et recherchées. Ce sont ces mêmes illustrateurs qui réalisent les dessins des publicités de la Gazette. Les planches mettent en lumière et subliment les robes de sept créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet et Doucet. Les couturiers fournissent pour chaque numéro des modèles exclusifs. Néanmoins, certaines des illustrations ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. La Gazette du bon ton est une étape décisive dans l'histoire de la mode. Alliant l'exigence esthétique et l'unité plastique, elle réunit pour la première fois les grands talents du monde des arts, des lettres et de la mode et impose, par cette alchimie, une toute nouvelle image de la femme, élancée, indépendante et audacieuse, également portée par la nouvelle génération de couturiers Coco Chanel, Jean Patou, Marcel Rochas... Reprise en 1920 par Condé Montrose Nast, la Gazette du bon ton inspirera largement la nouvelle composition et les choix esthétiques du « petit journal mourant » que Nast avait racheté quelques années auparavant : le magazine Vogue. [FRENCH
First edition, [4], 80pp., with half-title, orig. printed wrappers bound-in, Middle Hill boards, spine torn, uncut. An early monograph on the restoration of engravings and old bindings. Provenance: The library of Sir Thomas Phillipps; the library of Graham Pollard and Esther Potter.
2 vols., 8vo., First Edition thus, with fine wood-engraved illustrations throughout; Facsimile in black cloth, upper board and backstrip lettered in gilt, a fine copy in unclipped dustwrapper; Essay 4pp; the whole housed in publisher's custom-made terracotta board solander case lettered in gilt with mounted illustration (repeated from text). EDITION LIMITED TO 750 NUMBERED COPIES (THIS COPY NO. 96). Splendid facsimile reissue of the renowned Nonesuch Press edition of 1924.
2 vols., 8vo., First Edition thus, with fine wood-engraved illustrations throughout; Facsimile in ivory cloth, gilt back, a fine copy in unclipped dustwrapper; Essay 4pp; the whole housed in publisher's custom-made blue board solander case lettered in gilt with mounted illustration (repeated from text). EDITION LIMITED TO 750 NUMBERED COPIES (THIS COPY NO. 96). Splendid facsimile reissue of the renowned Golden Cockrel Press edition of 1926.
196 p. Over 270 p. Most printed in colors on heavy matte paper. Folio. 320 mm. Original full cloth binding. Original dust jacket, very slightly soiled at the edges. Near fine. American Illustration is an annual that brings together the best in American and Canadian illustration art from magazines, newspapers, advertising, books, posters, packaging and animation art. It is a revealing collection handsomely presented. It includes an index of artists, art directors, designers, publications, publishers, writers editors, and clients, etc. The concept for this Annual was created and promoted by Edward Booth-Clibborn, chairman of the Art Directors Club of Europe, and a cutting-edge publisher. The illustrations included are often quite remarkable, and always reproduced and printed in the best possible manner. First Edition. The original retail price was $60.00. W72
Over 320 p. 315 illustrations, including 298 plates in full color. Printed on coated paper. Folio. 320 mm. Original full cloth binding. Original dust jacket. Near fine. American Illustration is an annual that brings together the best in American and Canadian illustration art from magazines, newspapers, advertising, books, posters, packaging and animation art. It is a revealing collection handsomely presented. It includes an index of artists, art directors, designers, publications, publishers, writers editors, and clients, etc. The concept for this Annual was created and promoted by Edward Booth-Clibborn, chairman of the Art Directors Club of Europe, and a cutting-edge publisher. Designed by Roger Black, this volume has a special introduction by Marshall Arisman. The illustrations included are often quite remarkable, and always reproduced and printed in the best possible manner. First Edition. The original retail price was $60.00. W72
295 p. 285 Color plates. Printed on coated paper. Folio. 320 mm. Original full cloth binding. Original dust jacket. Near fine. American Illustration is an annual that brings together the best in American and Canadian illustration art from magazines, newspapers, advertising, books, posters, packaging and animation art. It is a revealing collection handsomely presented. It includes an index of artists, art directors, designers, publications, publishers, writers editors, and clients, etc. The concept for this Annual was created and promoted by Edward Booth-Clibborn, chairman of the Art Directors Club of Europe, and a cutting-edge publisher. Designed by Roger Black, this volume has a special introduction by Marshall Arisman. The illustrations included are often quite remarkable, and always reproduced and printed in the best possible manner. First Edition. The original retail price was $60.00. W72
Over 256 p. 238 Illustrations, with 229 in full color. Printed on heavy matte paper. Folio. 320 mm. Original full cloth binding. Original dust jacket. Near fine. American Illustration is an annual that brings together the best in American and Canadian illustration art from magazines, newspapers, advertising, books, posters, packaging and animation art. It is a revealing collection handsomely presented. It includes an index of artists, art directors, designers, publications, publishers, writers editors, and clients, etc. The concept for this Annual was created and promoted by Edward Booth-Clibborn, chairman of the Art Directors Club of Europe, and a cutting-edge publisher. The illustrations included are often quite remarkable, and always reproduced and printed in the best possible manner. First Edition. The original retail price was $60.00. W72
