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Fabian, Felix / Rey, Eric [Intr.]MareMagnum

A Portfolio of Original Lithographed Drawings by Felix Fabian

(JANESICH ) HALOUZE EdouardMareMagnum

A. Janesich, Joaillier (Publicité, Volume 1, La Gazette du Bon ton, 1920 n°4)

- Lucien Vogel éditeur, Paris 1920, 18x24cm, une feuille. - Estampe originale en couleur réalisée par Edouard Halouze, finement réhaussée à l'or, tirée sur papier vergé et signée en haut à droite de la planche. Peintre, illustrateur et décorateur, Edouard Halouze dessine des vignettes de mode pour la Gazette du Bon ton dès les débuts de la revue. Parallèlement à ce travail, il participe en 1920 à une exposition consacrée à "La mode vue par les peintres" et présentée au Musée des arts décoratifs. Il se distingue des autres dessinateurs de la Gazette par son style cubiste dans des décors, des costumes et des couvertures de programmes pour le music-hall. 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 talen

Librairie Feu Follet · Paris, FR69,00 €

DAVIDMareMagnum

Album des dames, leurs modes et frivolités (Croquis, La Gazette du Bon ton, 1922 n°1)

- 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 I et II sont signés David, en bas à droite des planches. Reliure à la bradel en plein papier à

Librairie Feu Follet · Paris, FR518,00 €

[Album].MareMagnum

Album mit 32 Reisezeichnungen aus den Niederlanden, Flandern und Frankreich. Utrecht, Antwerpen, Brügge, Brüssel, Paris, Le Bourget, Rouen, Versailles, Chateau de Fontainebleau u. a. O., 15. VIII. 1886 und 17. IV. bis 21. XI. 1887.

Kl.-Folio (280:220 mm). Album mit zus. 32 Zeichnungen auf 27 Bll. Die Zeichnungen im Postkartenformat (90:120 mm) teilweise in Blei aquarelliert und teilweise mit Tusche laviert, mit Motiven meist aus den Niederlanden, Flandern und Frankreich, zumeist monogr. "ES", jeweils flächig montiert und mit Goldlinien gerahmt. Lederband der Zeit mit goldgepr. Deckeltitel "Reise Erinnerungen 1887", gepr. Rücken und dreiseitigem Goldschnitt; Vorsatzpapiere aus goldbedrucktem Karton mit feinem ornamentalen Muster. 1 Messingschließe. Die Zeichnungen, ausgeführt von einem geübten Zeichner und jeweils beschriftet und datiert, dokumentieren die Stationen einer Reise: Nijmegen, Kampen, Enkhuizen, Ursem bei Alkmaar, Rotterdam, Utrecht, Antwerpen, Brügge, Brüssel, Mecheln, Tournai, Laon, Soissons, Paris, Rouen, Versailles, Chinon, Fontainebleau, Sully sur Loire und Moulins. - Der Künstler mit dem verschlungenen, wohl als "ES" zu lesenden Monogramm konnte nicht ermittelt werden; vermutlich trug er den Nachnamen Schmidt: Darauf deuten drei beiliegende Photokopien, die wohl die Rückseiten von drei der Zeichnungen zeigen, die als Postkarten an einen Carl Schmidt in Berlin versandt wurden. - Bis auf eine Bleistiftzeichnung mit Allgäuer Gebirgslandschaft, bezeichnet und datiert "Mädelegabel, 15. 8. [18]86", entstanden alle Zeichnungen auf der Reise durch die Niederlande, durch Flandern und Fankreich. Der Spruch "Wie hat das Gott so schön erdacht, dass er den Wanderburschen schafft" unter der Zeichnung von Kampen zu Beginn der Reise deutet darauf hin, dass die Reise zu Fuß angetreten wurde. - Der Zeichner versteht sich meisterhaft auf die minutiöse Wiedergabe von Stadtansichten und historischen Gebäuden; oft beleben treffend skizzierte Staffagefiguren den Vordergrund, oder die Landschaft ist in zarten Aquarellfarben angedeutet. Ein Selbstportrait zeigt den Künstler auf einem kleinen Schemel hockend, mit Zylinder auf dem Kopf, in der Pariser Avenue de Montaigne; ein anderes Selbstportrait, durch einen Spiegel in der Decke gesehen, entstand im Schloss von Fontainebleau. - Einband etwas berieben. Einige Zeichnungen mit Poststempel oder Abklatschspuren eines Poststempels. Innengelenke gebrochen, gering fleckig, Trägerkartons leicht gebräunt.

Inlibris · Wien, AT2 500,00 €

[Bande dessinée].MareMagnum

Album of original drawings. Blois, Paris, Saint-Malo and no place, 1990-1994.

Folio (320 x 250 mm). 150 leaves with 140 drawings. Various media: felt-tip marker, India ink, pen, graphite, coloured pencil, gouache, etc. Contemporary leatherette album, upper cover giltstamped "Livre d'Or", covers reinforced with metal applications. Marbled endpapers. All edges gilt. A splendid album of original artwork by some of the foremost artists of the Franco-Belgian comics scene active during the early 1990s. The contributions, some of which are located and dated, would seem to have been collected at various comics fairs or events. Virtually all are inscribed to "Jean-Michel", also variously spelt "Yann Mikael" or similarly, suggesting - as do the frequent maritime subjects - that the collector hailed from Brittany, probably from Saint-Malo, where numerous entries were acquired. - Among the still-active luminaries of the medium's Golden Age are Morris (with a portrait of Lucky Luke) and Tabary (who draws Calife Haroun el Poussah, known in English as Haroun El Plassid). Jidéhem draws Gaston (on which strip he long collaborated with Franquin), and Albert Weinberg draws his character Dan Cooper. Marcel Uderzo, Albert's younger brother and sometime collaborator on the original Asterix albums, draws his own character Mathias. Others have taken over the torch from famous predecessors: Al Coutelis draws a spoof of Tanguy and Laverdure, a famous strip he inherited from Albert Uderzo; Jean-Claude Fournier draws Spirou, which character Franquin handed over to him as early as 1970. A portrait in fineliner and broad felt-tip is contributed by André Juillard, who would later take over Edgar P. Jacobs's Blake and Mortimer - a series in which Didier Convard, seen in another entry, would also have a hand, in collaboration with Juillard. Jacobs himself is obliquely present in the portrait of his villain Olrik, drawn by an unidentified contributor, while Jean-Charles Kraehn represents Saint-Malo's very own "bande dessinée" scene. - A few double-page spreads (21, 114). Occasional light offsetting to opposite page or bleeding to next, especially from felt-tip drawings, but on the whole perfectly preserved. A few blank pages serve as protective tissue guards. A complete list of contributors, all but a dozen identified, is available upon request.

Inlibris · Wien, AT45 000,00 €

[China and Sri Lanka].MareMagnum

Album of watercolours. Shanghai, Hong Kong, Colombo, and other places, 1895-1896.

Large 4to (180 x 255 mm). 26 watercolours on 25 ff. With several additional pencil sketches. Original black half leather with green cloth covers and pen holder. Impressive album of vibrant watercolours documenting an extensive journey from Shanghai to Sri Lanka via Hong Kong made by a female British artist, Frances de la Poer. The volume opens with a full-page depiction of a traditional Chinese lotus shoe captioned "The Brides shoe Shanghai Nov 30th 95", decorated with a sketch of two women in festive dress beneath a tree. The artist apparently had attended a wedding in Shanghai, as she also portrayed "The brides sisters" on the verso of the same leaf underneath a panorama of the Yangtze river crowded with junks. This latter watercolour is stated to have been drawn on deck of the Canadian ocean liner "RMS Empress of Japan", bound for Hong Kong. On 3 December, Frances de la Poer captured in an atmospheric watercolour the Lei Yue Mun channel ("Lymoon pass") that separates Kowloon and Hong Kong Island, followed by another river scene showing clothes drying on the shore of the Pearl River. The album continues with a portrait of two Chinese men in traditional attire and two more landscapes of the Pearl River (here captioned "Canton River") and its mountainous surroundings. On 13 December the artist had already reached Malaysia, as evidenced by an unfinished watercolour depicting a group of people with cattle. The journey continued on the German "Reichspostdampfer Preussen", documented in the caption of a stunning landscape of the Sumatran coastline from 16 December. - After a longer interruption, the Ceylonese section of the album starts with an impressive depiction of a lake near Bandarawela, dated 26 Jan. 1896. The artist explored the south of the island, painting a landscape in Badulla, a "lace seller" in Colombo, a river scene near a British fort, a young boy, a Buddhist stupa, acrobats in Yatawatta, huts in a village and a woman in Kandy province, a Tamil coolie working with tea and other labourers, but also a scorpion and, in pencil, a spider and lizards. Several drawings are also annotated in Sinhalese. A series of larger pencil drawings is followed by two final watercolours: a beautiful depiction of Galle Lighthouse, the oldest lighthouse on the island, and a charming scene on deck of the British ocean liner "RMS Ormuz", dated 22 February. - Frances de la Poer (ca. 1850-1925) was the youngest daughter of the Irish nobleman John William de la Poer (1816-51). In 1881 she married Thomas William Gaston Monsell, 2nd Baron Emly, son of the liberal politician William Monsell. - Spine professionally restored. Two leaves apparently excised, but generally well preserved.

Inlibris · Wien, AT8 500,00 €

(VIONNET Madeleine) RUEG MadeleineMareMagnum

Allons au jardin. Robe d'après-midi, de Madeleine Vionnet (pl.64, La Gazette du Bon ton, 1924-1925 n°8)

- Lucien Vogel éditeur, Paris 1924-1925, 18x24cm, 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 l'illu

Librairie Feu Follet · Paris, FR104,00 €

(LANVIN Jeanne) BRISSAUD PierreMareMagnum

Allons voir les singes. Tailleur et robes de fillettes, de Jeanne Lanvin (pl.31, La Gazette du Bon ton, 1921 n°4)

- Lucien Vogel éditeur, Paris 1921, 18x24cm, 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 gauche de la planche. Gravure originale réalisée pour l'illustrat

Librairie Feu Follet · Paris, FR92,00 €

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