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- s.n., Paris 1913, 14x22,5cm, une feuille. - Estampe originale en couleur, tirée sur papier vergé, signature en bas au centre 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]
Acquaforte acquatinta Firma, data e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Carta delle Cartiere Filicarta. Esemplare 4/10. cm 43,8x47,5 (Foglio 49,4x61,5). pp.. . Molto buono (Very Good). Bordi lievemente scuriti. Tiratura 10. .
Acquaforte acquatinta a colori. Tiratura inedita in cui sono state usate, in diversa posizione, le due lastre utilizzate per l'incisione ''Aratro'' del 1959, riprodotta sul catalogo (Opera incisa 1956 - 2002, Fondazione Cassa di Risparmio di Tortona) Firma, data e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Carta delle Cartiere Filicarta. Esemplare 56/60. cm 31,5x44,5 (Foglio 50x70). pp.. . Molto buono (Very Good). Bordi lievemente scuriti. Tiratura 60. .
Small folio (260 x 336 mm). Album comprising two lithographic series: 1) H. Lecomte. Unidentified set, "imp. Lith. de Delpech". 37 lithogr. plates (numbered 1-37, complete thus?), monogrammed "H.te L.". 2) H. Bellangé. "Fantaisies par Bellangé". [Paris, Gilhaut, 1829]. 12 lithogr. plates, signed "H.te Bellange". Half calf with printed cover label. A fine collection of two lithographed series: genre scenes with riders, coaches, soldiers, hunting, salons, etc. The lithographer Hippolyte Lecomte (1781-1857) is known for his landscapes and genre and history paintings, "but mainly for his battles and scenes of historical representation" (cf. Thieme/B. XXII, 526). - The French military painter Hippolyte Bellangé (1800-66) "was capable of painting anecdotal scenes and combining the most comical situations with the most serious ones. His style made him extremely popular as a painter of French military success. Apart from his numerous paintings he created a body of some 600 lithographs" (cf. Thieme/B. III, 232). - Edges somewhat rubbed and bumped; margins show some fading. OCLC 830769201 (2nd series only).
45 + [2] pp. tekst + 40 platen buiten tekst, losbladig (zoals uitgegeven), 34cm., in linnen opbergdoos van uitgever (licht verkleurd), beperkte oplage van 555 exemplaren: dit is één der 55 pers- en presentexemplaren, gedrukt op luxe-papier, goede staat, tekst en platen in zeer goede staat, [bevat een overzicht van de Vlaamse graveerkunst van de 16e tot de 20e eeuw], S97506
Full brown cloth boards show edge wear, an ink mark, and some spots. 64 pages. 6 1/2"w x 9 3/4"h.
A clean, unmarked book with a tight binding. Very slight edge wear to dust jacket. 7 3/4"w x 10 1/4"h. 128 pages. Illustrated by Leslie Brooke.
Bibliothèque Nationale, 1978 -Catalogue d'exposition - In-8 broché - carré - Très nombreuses reproductions Nb, certaines PP - 249 pages + Table - Propre
- 1941, 24,5x33cm, 82 feuilles., relié. - Recueil constitué par l'artiste de 82 lithographies réalisées entre 1939 et 1940 d'après ses dessins. Toutes sont des portraits du personnel enseignant de l'université de Genève, au crayon noir ou gras, et comportent en légende le nom du modèle et la signature de l'auteur, ainsi qu'une date. On distinguera le portrait de Jean Piaget, qui fut amplement utilisé comme image du psychologue. Le papier habituellement utilisé est celui usité pour le dessin, et les qualités de la lithographie laissent penser qu'il s'agit de dessins originaux ; on pense que l'auteur possédait sa propre presse et réalisait ses lithographies. Reliure en pleine basane citron marbré d'époque. Dos lisse, titre argenté. Sur le plat , en lettres d'argent : Université de Genève, avec les armes au-dessous, et en bas à droite : Oscar Lazar, 1941. Frottements et quelques épidermures. L'artiste fera relié semblablement ses recueils de dessins originaux, cette reliure agissant comme une reliure personnalisée pour les oeuvres de Lazar. Envoi : Dédié à Monsieur Albert Lagier. Chêne-Bougerie, le 20.IV. 1942. Lazar. Albert Lagier était alors recteur de l'Académie de Genève. Dessinateur et portraitiste d'origine hongroise, Oscar Lazar s'est installé à Genève en 1924. Il publie plusieurs ouvrages sur des personnalités genevoises, suisses et internationales d'après ses dessins (Rotary, Saint-Moritz, Zurich, Société des Nations). La bibliothèque de Genève possède des dessins originaux. [ENGLISH DESCRIPTION ON DEMAND]
Exhibition catalog for a show held at the publisher's gallery. Book is in excellent condition, as new. Binding is solid and square, covers have sharp corners, exterior shows no blemishes, text/interior is clean and free of marking of any kind. 44 page catalog with one full size print every two pages. List of artists at back, including: Mark Berndt, Lisa Blair, Tony Bonanno, William Coupon, Dianne Duenzl, Amy Kawadler, Reno Kleen Lisa Law, Pilar Law, Eric Lawton Douglas Magnus, Carrie McCarthy, Daniel Milnor, Erwin More, etc.
Acquaforte Firma a matita. Cm 17,6x25 (Foglio 30,5x34,5). . . Ottimo (Fine). . . .
A COMPTE D'AUTEUR. NON DATE. In-Folio Carré. En feuillets. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. UNE ESTAMPE ORIGINALE de dimension 46 Cm X 31 Cm environ incluant les bordures - Dimension hors bordures : 32 C m X 20 Cm environ. // Epreuve signée en bas à gauche, annotée EA à droite , au crayon a papier.
Contains b&w and color plates. 265x355 mm. 189 pages. Gilt hardcover with dust jacket. DJ edges worn. Cover upper edge slightly faded. Pages yellowing. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
COMPLETE THREE VOLUME SET. RARE second edition of 'Voigt and Günther's Orbis pictus' - the classic illustrated textbook for children in the tradition of Comenius' 'Orbis Pictus'. Contains 90 full-page colored plates. [ALL VOLUMES]: 260x195mm. [148] + [138] + [VI+204] pages & 90 plates. Hardcover rebound with original boards (without the original spine). Gilt volume numbers on spine. Original boards and spine worn and stained. Cover corners and edges, and spine edges bumped and peeling. Few pages/plates slightly dirty. Some pages/plates age-stained. Few pages somewhat worn at corners and/or edges - no damage to text or plates. Pages yellowing and rough-cut. [VOL.I]: Ink inscription on front inner cover. Text page 45/46 edges worn, upper edge taped - NO damage to text. Plates XIII and XVIII mispaginated as nos.VI and VII. [VOL.3]: Puncture-marks on rear cover (not penetrating into inner cover). [SUMMARY]: This extremely rare and beautifully illustrated three volume classic children's textbook is otherwise in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
Acquaforte Firma e numerazione a matita. Timbro a secco dello stampatore. Tirata a mano sui torchi di Giorgio Upiglio. Carta delle Cartiere Filicarta. Esemplare p.d.a. (IV stato). cm 16,8x21,5 (Foglio21x25). . . Ottimo (Fine). . . . La pubblicazione ''Undici stati'' tratti da un'unica lastra incisa all'acquaforte da Lattanzi dimostra la precisa intenzione dell'Artista di definire e identificare ogni stato non come la consueta fase di passaggio per arrivare all'optimum desiderato e destinato alla relativa tiratura, bensì come una realizzazione a sé. Per il terzo e quarto ''stato'' la tecnica utilizzata è quella dell'acquatinta che campisce le zone dove appaiono i mezzi toni. L'undicesimo stato fu l'ultimo solo perché la lastra, ormai erosa, non permetteva ulteriori morsure in acido: idealmente la ''focalizzazione semantica'' continua all'infinito. . . (Vanni Scheiwiller).
Acquaforte acquatinta a colori Firma a matita. Esemplare prova ad personam. Cm 38,5x32 (Foglio 70x50). pp.. . Ottimo (Fine). . Tiratura 100 + alcune prove ad personam. .
Acquaforte acquatinta a colori Firma, data e numerazione a matita. Timbro a secco dello stampatore. Tirata a mano sui torchi di Giorgio Upiglio. Esemplare BAT (Bon à tirer). 4 lastre di cm 19x29 (Foglio 63,5x75). . . Ottimo (Fine). . . .
39 p., ill. coul. Inv. 34099
Oblong 4to. Leporello of 12 chromolithographs, each segment 245 x 350 mm. In a protective box with pictorial cover. The only foreign-language edition of this work that originally appeared in identical form in Vienna in 1925, very rare. - Pictorial narrative which flows continuously through the illustrations on both sides, the animals coming on one side and leaving on the other. Oskar Laske (1874-1951) mainly worked as a painter from 1904. He excelled as a graphic artist and saw his works published in the Vienna-based "Zeitschrift für vervielfältigende Kunst", one of the leading international fine art journals of the day. For the next fifteen years, print-making dominated Laske's oeuvre. In 1907 Laske joined the Hagenbund and in 1924 the Vienna Secession. His work was not only exhibited at those artist associations but also internationally. - Some wear to the first plate. F. C. Heller. Die bunte Welt. Handbuch zum künstlerisch illustriertem Kinderbuch in Wien 1890-1938 (Wien 2008), p. 293. Cf. Lily Schulz-Laske & Elisabeth Kesselbauer-Laske, Oskar Laske. Der künstlerische Nachlaß (Wien 1952), Lithographien, p. 29, nos. 28-39. Exhibition catalogue "Oskar Laske", Kunsthaus (Wien 1996), Ill. pp. 96f.
PUF Que Sais Je ? 1943, In-12 broché, 128 pages. Trés bon état.
- Lucien Vogel éditeur, Paris 1914, 38,1x24,5cm, 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 dans la planche. Gravure originale réalisée pour l'illustration d
- Lucien Vogel éditeur, Paris 1925, 18x24cm, relié. - Set of eight original prints in color, drawn on laid paper. The boards are introduced by a text signed LRF Sketches L, LII, LIII, LV, are signed 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 douze estampes originales à l'or fin, tirées sur papier vergé. Les planches présentent des modèles de robes réalisés par quatre grands créateurs, Lanvin, Poiret, Vionney et Worth. Reliure à la bradel en plein papier à motif décoratif, dos lisse, tête dorée.
Book is as-new black fine cloth covers, sliver lettering at spine. Excellent condition in every respect with no blemishes of any kind. Previous owner's name and phone number on front endpaper. Dust jacket has very light shelf wear only, no tears or chipping. An encyclopedic reference to the subject, at 364 pages, book is divided between two roughly equal sections with different paper used in each. The first is in four sections: Early genre painting and the rise of Ukiyo-e, The primitives and the first centry of Ukiyo-e 1660 - 1765 The golden age of the color print 1765 - 1810, & Hokusai, Hiroshige and the Japanese landscape 1810 - 1880. 2nd section comprises the Illustrated dictionary of Ukiyo-e, in which illustrations go to b&w. In business for 20 years, we provide excellent customer service and ship in packing material appropriate to assure your package arrives undamaged.
4to., First Edition, with numerous illustrations in the text and pictorial endpapers; cloth, gilt back, a near fine copy in the dustwrapper. This major study, based around a catalogue by artist, includes a useful bibliography
Book shows light wear only to bright red covers with gilt print at front and spine. Binding is solid and square, text/interior is clean and free of marking of any kind with prev. owner's name at front end paper and stamp on title page. 190 pages with 66 illustrations, mostly b&w prints. Dust jacket has small open tears, edge wear. Contents include: Rembrandt and the jews come to Amsterdam, Portraits of jew, Scenes of Jewish daily life, the Bible.
