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- Lucien Vogel éditeur, Paris Juillet 1920, 18x24cm, une feuille. - Estampe originale en couleur, tirée sur papier vergé, signée en bas à gauche 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. [ENGLISH DESC
Ex-library copy with the usual stamps and markings. Interior pages clean and unmarked; tight binding. 406 pages. Bound by library in bright red buckram. 195 pages of text, followed by a section of black and white plates.
Club français du livre 1967. In-4 carré relié toile illustrée de 213 pages. Illustré de 123 reproductions d'estampages. Préface de Zao Wou Ki et Claude Roy. Exemplaire complet de la grande planche dépliante. Exemplaire numéroté. Bon état
Acquaforte originale Firma e data a matita. Esemplare 14/20. Cm 22,5x27,5 (Foglio 35x50). . . Ottimo (Fine). . Tiratura 20 + XX. .
13 grandi litografie originali numerate, titolate e firmate dall'Artista (cm 34x25) Scritte in nero al piatto. Esemplare 27/45. cm 51x41. 13 fogli sciolti in cartella di tela. . Ottimo (Fine). . Edizione originale di 45 es. numerati. .
Stampa giclée su Somerset Velvet. Firmata e numerata a penna dall'artista / Giclee print on Somerset Velvet. Signed and numbered by the Artist in pen Esemplare 12/30. Cm 70x40. . . Ottimo (Fine). . Tiratura 30 (Edition of 30 copies). .
NUMBERED. IN HEBREW AND ENGLISH. 30.5X24 cm. 55+XXVII+Unnumbered pages. Hardcover in dust jacket. Library copy with usual signs. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
NUMBERED COPY #178 of 300. VERY RARE edition of the children's fable "The Fisherman and his Wife" by the Brothers Grimm, illustrated with stark woodcuts by Würtenberger. The text is in frakturschrift low-German. 350x260mm, 18 numbered pages +2. Rebound hardcover with vellum spine and corners. Book's title printed on a label pasted on front cover. [CONDITION:] Cover lightly worn on all edges. Spine and front label dirty. Previous owner's name printed on front endpaper ("Nelly"). Inside, the book is in very good condition for its age and delicate material.
Litografia a 4 colori. Opera appartenente al portfolio pubblicato in occasione del 500° anniversario della nascita di Michelangelo Firma e numerazione a matita. Stampata su carta Rives Couronne da 250 gr Da Matthieu, Zurigo. Esemplare 173/200. cm 80x60. . . Perfetto (Mint). . Tiratura 200 + XX p.d.a.. .
pp. vii, (18) [Plates], 45-304. Illustrated with Eighteen impressive full wood engraved plates. Numerous text engravings. Aged stained. Lacks rear fly leaf. Fore edge damp stained. 8vo. Original full cloth binding, worn. Hardbound. INDIA BOX 1
Roy. 8vo., First Edition thus, with title-vignette and very numerous fine engraved illustrations in the text; decorative cloth, brown morocco back lettered in gilt, brown top, brown endpapers, a near fine copy in publisher's board slip-case. Published in the series 'Folio Poets'.
pp. 412 + Plus engraved frontis. Frontis and title page foxed. 8vo. Original full gold decorated purple cloth binding, beveled edges, extremities worn. HORSE 1
Acquaforte acquatinta Firma, titolo e numerazione a matita. Firma e data su lastra. Certificato di autenticità sul retro di Bolaffio. Carta BFK Rives. Esemplare 45/50. cm 25x49 (Foglio 45x 56). pp.. . . . Tiratura 50. .
351 p. Highly illustrated. 600 Illustration (135 in color). 4to. Original gold-stamped black cloth binding. Original dust jacket, price clipped and extremities worn. First edition. Actually one of the best one volume histories of Philadelphia. PA 24
The catalogue raisonne of Gag's prints. 122 items illustrated and exhaustively described. 4to. Original wraps. Fine and bright, like new.
Second Edition, revised and enlarged, 2 vols., 2 frontispieces, 1 folding plate, orig. cloth, re-backed, uncut.
25.5x19.5 cm. Unnumbered pages. Softcover. Cover slightly chafed. Else in good condition.
The catalogue raisonne. 319 items illustrated and thoroughly described. 4to. Publisher's illustrated boards. FINE AND BRIGHT. Like new.
548p. + Frontis. Illustrated with numerous full page engravings. Title page ruled in red and printed in red and black. Paper beginning to brown at edges. Some soiling. A few leaves torn without loss. Inner hinges cracked. 8vo. Original full green cloth binding, decorated and lettered in gold and black. Binding very worn. Hardbound. The author, Isaac W. Wiley, was a pastor, medical and educational missionary, and influential bishop of the former Methodist Episcopal Church. Wiley College, founded in 1873 by the Freemen's Aid Society to educate newly freed slaves, was named for him. He served as a missionary for some years in China and returned to organize missionary activity in the Far East. This account of his travels makes interesting reading. He visited and describes many places, customs, sights, religions. In China: Shanghai; Peking; Kiukiang; Foochow; Hong Kong; Canton - in Japan: Yokohama; Nagasaki; Tokio (Tokyo); among other places. Scarce. **PRICE JUST REDUCED! TRAVEL/3
First edition, 4to, 224pp., 96 coloured plates, orig. cloth, d.w. Extensive descriptions of the individual plates.
The standard catalogue raisonnÈ. 336 items reproduced in color and black & white and thoroughly described. Folio. Publisher's boards, dustjacket, board slipcase. FINE AND BRIGHT. Like new, with no defects.
Volume four (of four) [Le monument du Costume; Suite de Larmessin pour les Contes de la Fontaine; The Illustrations of Moreau le Jeune for the Works of Jean Jacques Rousseau; Illustrations for the tales of La Fontaine. pp. 497- 641, [1]. Beautifully printed on soft unbleached Arnold paper. With many etched, engraved and photogravure plates - some finished in aqua-tint color. Folio. Handsome elaborate full crushed red morocco gilt binding, by Riviere and Son. Top edge gilt. Original slip case. Number 20 of an edition limited to only 120 copies. The plates are wonderful, and the beautifully printed explanatory text is illuminating. The full four volume set retails for about $7000.00 today. This collection, originally formed by Albert Christophle, was preserved by the wealthy American art collector and sportsman Joseph Early Widener (1871-1943). Born in Philadelphia, he was the second son of Hannah Josephine Dunton (1836-1896) and the extremely wealthy transportation and real estate magnate Peter A. B. Widener (1834-1915). Joe was the uncle of the famed brilliant young book collector Harry Elkins Widener, who died (with his father) on the Titanic. He was a founding benefactor of the National Gallery of Art in Washington, D.C., and a major figure in thoroughbred horse racing. **PRICE JUST REDUCED!
Volume two (of four) [Drouais-Krantzinger]. pp. x, 172-331 [1]. Beautifully printed on soft unbleached Arnold paper. With many etched, engraved and photogravure plates - some finished in aqua-tint color. Folio. Handsome elaborate full crushed red morocco gilt binding, by Riviere and Son. Top edge gilt. Original slip case. Number 20 of an edition limited to only 120 copies. The plates are wonderful, and the beautifully printed explanatory text is illuminating. The full four volume set retails for about $6000.00 today. This collection, originally formed by Albert Christophle (1830-1904), was preserved by the wealthy American art collector and sportsman Joseph Early Widener (1871-1943). Born in Philadelphia, he was the second son of Hannah Josephine Dunton (1836-1896) and the extremely wealthy transportation and real estate magnate Peter A. B. Widener (1834-1915). Joe was the uncle of the famed brilliant young book collector Harry Elkins Widener, who died (with his father) on the Titanic. He was a founding benefactor of the National Gallery of Art in Washington, D.C., and a major figure in thoroughbred horse racing. **PRICE JUST REDUCED!
A clean, unmarked book with a tight binding. 224 pages. 9 5/8"w x 10 7/8"h. Many color illustrations. "In this striking catalogue of the first major showing of Kandinsky's work for some years, over 130 works on paper are reproduced in full colour and shown in the context of Kandinsky's oeuvre as a whole." Introductory essay by Frank Whitford.
