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- 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 Jeanne Ramon-Fernandez. Les croquis XIX et XXI sont signés David, respectivement en bas à droite et à gauche des planches. Reliure
240 pages. Bibliography. Index. "The definitive work on printed Eskimo graphics. A comprehensive survey of all areas in the Canadian Arctic where prints are produced and contains works by all the leading printmakers. The two texts deal respectively with the aesthetic content of printed Eskimo graphics and with the social, cultural and anthropological background to the art. All the prints - over one-hundred - are reproduced full page in their original colours, each accompanied by a facing page of descriptive text. Also contains short biographies of all artists represented." - dust jacket. Light wear to clean and unmarked book. Moderate wear to dust jacket now preserved in glossy new archival-grade Brodart. A quality copy of this wonderful compilation. Bibliographic reference: About Indians (4th Edn) 1190. Book
Cartella contenente 4 acquaforti originali, numerate, firmate e datate a matita dall'Artista (cm 17,5x12,5 - foglio 50x35) Stampatore: Elvidio Farabollini di Treia. Ogni incisione reca il timbro a secco dell'Editore. . . . Perfetto (Mint). . Edizione originale di 20 es. numerati. . ROCCAMONTE, Giorgio Amelio (Buenos Aires, 1927 - Roma, 1980). Scultore, ha firmato con Lucio Fontana il Manifesto Blanco nel 1946
This is a very good hardcover copy in dark blue cloth with gilt titles and front cover device and bevelled edges. Minimal scuffing to the covers. Inside is fresh and clean. 36 text pages + 96 illustrations including a number of tipped-in color plates. Almost the whole dust jacket is laid-in at the rear (in 2 pieces, the front panel & rear panel). Folio, 12" high X 10" wide.
- s.n., Paris 1913, 14x22,5cm, une feuille. - Estampe originale en couleur finement rehaussée à l'or, tirée sur papier vergé, signature en bas à gauche 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]
The standard catalogue raisonne. 400 items illustrated and thoroughly described. Ten full-page color plates. 4to, original wraps. Light wear to wraps, internally fine.
RARE DELUXE LIMITED EDITION of 298 copies of Arthur Rimbaud's poems magnificently illustrated with 15 SIGNED lithographs by the renowned French painter, sculptor and illustrator Raymond Moretti (1931-2005). 415x315mm. 88 pages [+20] & 16 double-page plates (5 monochrome & 10 polychrome). Unbound pages and plates laid in blue folder and illustrated cobalt blue slipcase. Elaborate brass handle embedded into slipcase, engraved with Moretti's signature. All plates signed by the artist. This extraordinary limited edition of Raymond Moretti's illustrations to Rimbaud's poems, all signed by the artist, is in very good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
Folio (280 x 440 mm). 2 parts in one volume. 20, 24, (2) pp.; 17, (1), 20, (2) pp. With engraved sanguine frontispiece, engraved sanguine title-page, engraved vignette in the text, and 127 hand-coloured engraved plates. Modern full calf, bound to style, in custom slipcase. First edition of Ridingers' last great suite of plates, posthumously completed and edited by his sons Johann Jakob and Martin Elias Ridinger. One of only two series of engravings that Ridinger published with coloured plates; very rarely encountered complete, as in the present specimen. - As always, part I has only a sanguine frontispiece with Ridinger's medallion portrait but no title proper. This is followed by a preface in French and German (with a biography of the artist); the title of the work is not announced until page 9 of the German introduction. Part II has a separate engraved title-page, also printed in sanguine. - Occasional light fingerstaining to the lower margins of some plates, otherwise very clean. Some occasional light foxing to text leaves. Spine a little sunned, front hinge professionally restored. From the collection of the Hessian chemist Waldemar Schwalbe (1882-1943) with his pretty silhouette bookplate, dated 1937. Nissen 3408. Thienemann/Schwarz 974-1102.
220x210 mm. VI+130 pages. Softcover. Cover slightly stained and scratched. Cover edges and corners slightly worn. Spine wrinkled. Spine edges slightly worn. Last page slightly torn - NO damage to text. Pen inscription on last page. Some pages slightly age-stained. Pages slightly yellowing. Else in good condition.
310 p. + 32 Plates: steel-engraved frontispiece, title-page, and 30 steel-engraved plates. Plates considerably foxed. Elaborate publisher's red morocco leather gift binding, tooled in blind; With a diamond shaped inset blue leather title piece, elaborately tooled and lettered in gold gilt. Binding worn at the extremities, but still attractive. Inked manuscript ownership of: Mrs. Laura W. Fells, Carlisle, Cumberland County, PA. April 21, 1859. This work was also published under the title, 'The Romance of American Landscape.' Sabin 70958; Wright, II, 2030. "During the first half of the nineteenth century artists fanned out across the northeastern United States to find aesthetic inspiration in nature (and historic architecture). Thomas Addison Richards (1820-1900) was one of the few who traveled extensively in the South. Through his paintings, illustrated magazine articles, and guidebooks, Richards introduced the natural beauty and distinct characteristics of this region to a national audience. Born in London, his family immigrated to America in 1831, moving first to Hudson, New York, and then to Charleston, South Carolina. Around 1837 they settled in the small town of Penfield, Georgia, the original site of Mercer University, where Richards's father, a Baptist minister, served as a charter trustee. In 1838 the young Richards left for Augusta, where for the next two years he offered lessons in painting and drawing and contributed travelogues about his rambles around Georgia to the Augusta Mirror, a local literary magazine. In 1841, sketchbook in hand, he left Augusta to travel around the South in search of picturesque scenes. In 1844 he settled permanently in New York City, where he gave art lessons from his studio and began taking classes at the National Academy of Design. He subsequently became a full academician and served as the institution's corresponding secretary from 1852 to 1892. Many of the paintings he regularly contributed to academy exhibitions were romantic landscapes of the South. Throughout the 1850s Richards penned numerous articles and books. He supplied illustrated articles based on his travels around the Northeast to Graham's Magazine (Philadelphia) and the Knickerbocker (New York). For the weekly Southern Literary Gazette, published by his brother out of Athens, Georgia, and Harper's New Monthly Magazine (New York), he submitted essays on his travels through the South. Richards enlivened his travelogues with personal anecdotes, legendary stories, tips on lodging, and engravings after his on-site drawings. In1854 a series of engravings after Richards's southern sketches appeared in Romance of American Landscape / American Scenery. In 1857 Richards married Mary E. Anthony, an author of children's stories. Thereafter, Richards concentrated on teaching and painting. He served as the first director of the Cooper Union School of Design for Women in New York, a position he held from 1858 to 1860, and taught at New York University from 1867 to 1887. At the National Academy and Brooklyn Art Association he exhibited still lifes and landscapes, often of tranquil southern scenes. **PRICE JUST REDUCED! NW 45 BINDINGS
180 x 111mm, single sheet printed on one side only. List 14 prints offered for sale by Mr. R. Richards which "representing the History of our Saviour". Not listed on ESTC, OCLC or Copac.
27x19 cm. XLIX+162 pages. Gilt hardcover. Back cover slightly chafed. Else in good condition.
271pp.richement illustré, in-4, br.orig., catalogue d'exposition (Paris, Musée du Petit Palais, 14 novembre 1991 - 16 février 1992), bon état, S84562
4to. Late 19th century three quarter calf with marbled boards. Spine gilt decorated and with title and author in gilt on title label. With 29 (of 30) beautifully hand-coloured plates of costumes. 28 pp. Collection of Swiss costumes with 29 fine engraved plates, very nicely hand-coloured. The text is in French and English. - Very nice copy. Lacking English title and one plate. Swiss costumes in full colour. Colas 2530; Hiler 742; Lipperheide 907.
SIGNED BY JESSE REICHEK. 22x17 cm. 48 prints. Hardcover in dust jacket. dust jacket stained and torn at several locations. Cover page age and water stained. Pages yellowing. Binding visible between several pages. Print no. 22 unbound. Else in good condition.
In HEBREW AND ENGLISH. Contains plates in color. 22x24 cm. Unnumbered pages. Softcover. Cover slightly chafed. Spine slightly chafed. Else in good condition.
RARE biography of Jewish-German artist E. M. Lilien, in which are revealed his views on the process of artistic creation and art, the Jewish people and Zionism. Includes numerous b&w illustrations by E.M Lilien, and several b&w photographic plates. 250x190mm. 227 pages. Embossed cloth Hardcover. Text block edges dyed blue. Cover age-stained and slightly dirty. Cover corners and edges slightly bumped. Spine yellowing, rubbed and slightly wrinkled. Spine edges slightly worn/wrinkled. Pages slightly yellowing. [SUMMARY]: This valuable and rare book on the eminent and influential Jewish graphic artist, sometimes called the "first Zionist artist", is in good condition.
RARE biography of Jewish-German artist E. M. Lilien, in which are revealed his views on the process of artistic creation and art, the Jewish people and Zionism. Includes numerous b&w illustrations by E.M Lilien, and several b&w photographic plates. 250x190mm. 227 pages. Decorated mustard cloth Hardcover. Rebound with original cover and part of spine pasted over new binding. Cover worn and stained. Cover corners bumped and peeling. Binding visible on inner cover. Inner cover and whitepage edges browning. Page 25/26 edges tattered (no text missing, page intact). Several first page edges slightly bumped. Pages slightly yellowing. [SUMMARY]: This valuable and rare book on the eminent and influential Jewish graphic artist in good condition.
First edition, oblong 4to, 128pp., 95 illustrs., (some coloured), orig. cloth, d.w.
This is a very good softcover copy with just light cover wear. Completely clean. This catalog was prepared to accompany the travelimh exhibition that opened at the Museum of Fine Arts, Boston from January 24 to April 2, 1989. Illustrated in monochrome. Index of Artists. Bibliography. 11" high X 8" wide, 302 pages. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and shipped with tracking.
33X24.5 cm. Unnumbered pages. Hardcover in dust jacket. In good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
Litografia originale a colori dalla cartella ''El circulo de piedra'' Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Stampata su carta delle Cartiere Filicarta. Esemplare 15/125. cm 55x45. . . Molto buono (Very Good). . Tiratura 125 + XXV. .
This is a very good hardcover copy in a gray cloth binding. No dust jacket. Title page has been slightly cut down and re-attached to it's original position. Introduction by Herbert Read. The whole book was designed by Nicholson. 203 plates in color and black & white. Bibliography. Biographical note. Summary of text in French. Large 4to, 11 1/2" high X 9" wide, 32 pages of text + plate section.
A clean, unmarked copy with a tight binding. 160 pages. Small chip on top edge of black cloth boards; barely noticeable. Clean and tight with sharp corners. Slight edge wear and fading to dust jacket. A photographic reproduction of the first edition, printed by offset lithography. Selected with an introduction by Reynolds Stone; postscript and additional selection by Simon Brett. . "Gwen Raverat (1855-1957) was one of the most distinguished printmakers of the century, an artist in whose hands the medium of wood engraving became uniquely transparent to personal vision. Her world, richly populated with the symbols of her own experience set in one of the most classic traditions of Western art, is universally accessible and capable of inspiring passionate affection in those who are drawn to it, responding to her own intense reaction to the subjects she chose." [Publisher's blurb]
Roy. 8vo., First Edition, with many fine reproductions throughout; cloth, a very good, clean copy in the dustwrapper, the latter lightly frayed and creased at edges.
