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- Lucien Vogel éditeur, Paris s.d. [circa 1920], 18x24,5cm, deux doubles feuillets. - Extrait original tiré de La Gazette du bon ton, illustré de treize dessins en couleurs signés M.T. 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. Très bel exemplaire. [ENGLISH DESCRIPTION ON DEMAND]
39 p., ill. coul. Inv. 34099
In-folio, cartella originale con illustrazione, che contiene le 10 incisioni su linoleum, sciolte, tutte numerate e firmate dall’autore, e il testo di Consagra “E’ trascurabile esprimere se stessi”; tiratura limitata, dopo la stampa le matrici furono distrutte. Ottimo esemplare.
Aquarell auf Papier, jeweils ca. 165 x 90 mm, in drei Gruppen (2 Vierer- und eine Zweiergruppe) unter Glas und Passepartout gerahmt. Undatierte, hübsch aquarellierte Folge von 10 österreichischen Offizieren in ihren Regimentsfarben. Der aus Znaim gebürtige österreichischische Militär- und Pferdemaler und Zeichner A. Pock studierte bei Griepenkerl an der Wiener Akademie und war bis 1914 Mitarbeiter der Meggendorfer Blätter; das Heeresgeschichtliche Museum besitzt einen Bestand an Werken Pocks (vgl. Vollmer). - Sauber und wohlerhalten. Vgl. Thieme/Becker XXVII, 170; Vollmer III, 603.
Exhibition catalog for a show held at the publisher's gallery in very good condition. Binding is solid and square, covers show light wear text/interior is clean and free of marking of any kind, creaseless covers and spine, lightly bumped corners, mark down the back cover, faded spine with light chipping. 96 pages with full many full and half page b&w prints, some full color, 6-8 pages per artist, of the work of the artists in the show, including Ernest Briggs, James Brooks, Sam Francis, Fritz Glarner, Philip Guston, Raoul Hague, Grace Hartigan, Franz Kline, Ibram Lassaw, Seymour Lipton, Jose De Rivera, Larry Rivers
13 ff. of coloured pencil drawings, numbered 3-5, 8, 15-16, 18-20, 2[1] (?), 22, 31 and 32. About 22 x 16 cm each, matted. Curious collection of obscene watercolours, apparently a product of the Austrian Biedermeier period. Three drawings poke fun at the then-famous vaudevillian athlete, juggler and balance artiste Rappo (the Innsbruck-born Karl von Rapp, 1800-53), giving quite a new meaning to the term "show business". Others employ the setting of a trade fair, depicting the city harlots preparing for work and travelling salesmen in pursuit of lewd entertainment. While nearly all drawings are accompanied by tongue-in-cheek couplets, one has no caption, and another is simply entitled "table-tipping" (not the séance kind). In the circus drawings, Rappo's name was first obscured as "R. Appo" and then - rather crudely - changed to the familiar spelling. - A fine, well-preserved collection, apparently a substantial part of a formerly larger set.
13 original drawings in various techniques: pencil, watercolour, gouache, and ink on paper. Mostly captioned in German (and a few in Italian), mounted on 12 leaves of coloured paper bound in an album. Contemporary red morocco, both covers plated with relief-stamped luxury cream paper, splendidly ornamented with the arms of the British monarchy and the City of London, bordered with gilt floral dentelle; central compartments calligraphed in red and gilt: "Louise" / "30. Mai 1857". White moirée endpapers. All edges gilt. A splendid album of ethnographic portraits, possibly intended as templates for the nine-year-old Princess Louise, Duchess of Argyll (1848-1939), the sixth daughter of Queen Victoria and Prince Albert of Saxe-Coburg and Gotha, and like her mother a highly accomplished artist at an early age. The meticulous and detailed drawings show representatives of various peoples of the world, some in half-length and others in full figure, mostly captioned in a German hand: three Australian Aborigines ("Neuholländer", "Vandiemens-Länder" [from Tasmania], "Aramanga" [from Queensland]), two native Americans from North America ("Nordamerikaner", "Eingeborener vom Oregon"), a Filipina, a Hawaiian, an Indian Brahmin, two orientals (a tea-seller and a scribe), a female African slave, a mongolian ("Sifan"), and another, unidentified Asian. All pictures would appear to be copied from 19th century travel publications; three are obviously based on plates from James Cowles Prichard's "The Natural History of Man" (London 1843). - Album's corners lightly bumped; paper and paints clean and crisp throughout. Other early drawing and scrapbook albums compiled for or by Princess Louise are kept in the Royal Collection.
Small folio (287 x 377 mm). (6), 134, (24) pp. With 31 leaves plates (sugar aquatints, etchings and drypoints). In unbound sheets as issued, stored in publisher's original cardboard covers, portfolio and slipcase (some slight wear to the latter). Two unique and wholly original brush drawings, adorning a signed and inscribed first edition of this famous suite by Picasso, in perfect condition. - Limited edition of 226 copies: this is number 155, one of 135 on Vidalon vélin. This copy was presented by Picasso to his friend, the painter André Marchand (1907-98), with an autograph inscription and two original drawings, each one full page. The two drawings are executed in Indian ink, pen and brush, heightened with black ink wash. They occupy the verso of the half-title bifolium and the first section title ("Le Cheval"). The first drawing shows a tomato plant in a pot, probably a reference to the still lifes for which Marchand was known. The second presents two different figures of a horse: in the upper half of the sheet, a white horse, seen in profile; in the lower half, a powerful horse's head, also in profile, against a stark dark background. Both are dated by the artist "7 August 44"; the first drawing also bears in the lower right-hand corner the signed dedication: "Pour André Marchand / Picasso". - In 1936 Ambroise Vollard commissioned illustrations by Picasso for the comte de Buffon’s 18th century encyclopedia, "Histoire naturelle". The book was published in 1942 with Picasso’s 31 prints. The delightful images of the animal kingdom, rendered with exquisite technique, must have surely brought joy to those who viewed it during the dark days of the war. Printed in a relatively small edition of 226, several copies went to friends with unique drawings such as these. - Includes an additional print of the "Mère poule" plate. Provenance: André Marchand; Jean A. Bonna (his bookplate to the portfolio's pastedown). With a certificate from Picasso's daughter Maya, dated 10 October 2002. S. Goeppert, Picasso (1983), p. 104-107. The Artist and the Book, 231. OCLC 78845813.
60 mm (diameter) and 62 x 75 mm. In their original brass and wooden frames. Half-length portrait of baron de La Châtre, the father of the publisher Maurice Lachâtre, with the decoration of the "Légion d'honneur" clearly visible on his robe. He was born and died in Issoudun, was appointed a knight on 12 December 1803 and promoted to the rank of an officer on 14 June 1804. He participated in the Revolutionary Wars as well as in the Napoleonic Wars, reaching the rank of colonel, and was granted the title of a "Baron de l'Empire" on 19 March 1808. Narrow cracks in the portrait; small flaw at lower margin. - Half-length portrait of his wife and the mother of Maurice Lachâtre, Élisabeth-Constance Séonnet (born on 23 June 1784 in Issoudun, died on 13 November 1860 in Maisons-Laffitte), in a sitting position, her left arm resting on the back of the chair, wearing a white dress and a furry scarf round her shoulders. The miniature was probably created soon after her wedding on 13 April 1803. Marginal flaw to wooden frame. Xavier Gaignault et Hervé Coutau-Bégarie, Le colonel Pierre-Denis de La Châtre, baron de l’Empire (Éditions Guénégaud, 2007).
25 draught sketches on 20 pages (9 on cardboard, 11 on silk paper). Mostly large 4to. Includes 2 ff. with 7 pen-and-ink drawings. Collection of very early designs for refined ladies' fashion, some executed in great detail (pen-and-ink, pencil, crayons; some watercolouring). Three sketches bear a (probably later) stamp on the reverse: "Maria Jungwirth | Goldradierung, Kunstgewerbe | Wien, VI., Capistrangasse 3". - Maria Jungwirth from Krems studied at the Wiener Kunstgewerbeschule under Oskar Strnad, Alfred Roller, Josef Hoffmann, Franz Cizek, Adele von Stark from 1914 to 1917. She specialized in gold etching and watercolours. - Somewhat dusty; slight edge defects.
Each 216:298 mm. (Opaque) watercolor and pencil on solid cardboard, monogrammed. Finely executed drawings, showing some female allegories (a red rose, a bellflower and red weed). - Decorative gouaches by the artist Stern, who emigrated to Hollywood via Paris in 1933.
Oblong 8vo., First Edition, with 30 steel-engraved plates, one or two leaves lightly spotted in blank margins; original green cloth, boards elaborately embossed in blind, upper board lettered in gilt, red sprinkled edges, lower hinge starting (but binding wholly sound), a remarkably well-preserved bright, crisp, clean copy. The engravings, produced by Rook & Co of London, are dated variously between 1849 and 1864. VERY SCARCE, ESPECIALLY IN THIS CONDITION.
Set of four oval designs, all matted, with captions peeled and re-mounted upon mat. Comprising I: "Le Reveil". 268:205 mm. Oval, pencil, ink and watercolour drawing, signed ("Shepard") lower right, mounted, some worming to mount. - II: "La coiffure". 270:205 mm. Oval, pencil, ink and watercolour drawing, unsigned, mounted. - III: "La Jupe Insoumise". 270:205 mm. Oval, pencil and watercolour drawing, mounted, unsigned. - IV: "La Toilette achevée". 265:203 mm. Oval, pencil and watercolour drawing, unsigned, mounted. Fine set of original full-colour illustrations, picturing a young lady's matutinal awakening (by a maid bringing what is presumably a letter from her lover), morning coiffure, dressing (the lady being tucked into a recalcitrant dress by two maids), and, ultimately, the lady's admiration of her reflection in the mirror, her morning toilet achieved, with a maid in the background signalling to a gentleman that madam will receive him anon. A rare example of risqué drawings by Shepard, best known for shaping the definitive image of "Winnie-the-Pooh", but also a prolific staff-member of "Punch" and illustrator of favourites such as "The Wind in the Willows" and "David Copperfield". - Slight worming to mount (not affecting image). All signed in pencil on the reverse: "E. H. Shepard, Shamley Green, Guildford." Although the drawings are clearly marked for reproduction ("In 3 Colours"; "size 10 1/4 high facsimile"; "vet to Mr Shepard", etc.), it is unclear if they were actually published - the book for which they were intended could not be traced, and their subject matter does not fit easily into the artist's known canon, showing Shepard as a highly accomplished, albeit tamer disciple of Aubrey Beardsley with an inclination toward Rococo rather than Art Nouveau.
120:200 mm. Auf Kartonträger montiert (350:445 mm). Beiliegend eine Ansicht der Via Flaminia (185:282 mm), auf gleichformatigen Kartonträger montiert. Hübsche, unsignierte Ansichten der italienischen Hafenstadt Castellamare di Stabia am Golf von Neapel, darunter zwei Darstellungen der ehemaligen königlichen Residenz Reggia di Quisisana, die im 18. Jahrhundert durch die Bourbonen renoviert wurde und 1878 vom Haus Savoyen in Gemeindebesitz überging. Die übrigen Zeichnungen zeigen den Blick von Vico Equense über Castellamare, mit dem rauchenden Vesuv im Hintergrund, eine Ruine sowie den Hafen von Castellammare. Beiliegend eine Zeichnung der Via Flaminia in Rom. - Wohlerhalten.
Cartella contenente 6 litografie originali a colori, eseguite da Luigi Bartolini nel laboratorio delle Edizioni d'Arte il Bisonte a Firenze, tra il dicembre 1961 e il marzo 1962, ed un frontespizio litografico inciso dall'Autore. Titoli delle opere: "Villa in Sabina", "Strada di Villa Madama", "Il davanzale in fiore", "Anna nei boschi", "Fonte di campagna", "Le fioraie" (cm 65x46 - 46x65 c.ca). Le litografie sono numerate, titolate e firmate da Bartolini a matita. Con due poesie dell'Autore: "La passeggiata" e "Gli uccelli" Esemplare 6/30. Cm 66x48. pp. 4 + 7. . Molto buono (Very Good). . Prima edizione di 100+XXX es. numerati. .
7 Kupferstiche je 37,5 x 25,5 cm (Leopolds Portrait zusätzlich signiert "A. Bloem delin."). Folge von sieben Kupferstichen von Habsburgerportraits: Maximilian II., Ferdinand I., Matthias, Ferdinand II., Rudolf II., Ferdinand III. und Leopold I. (die letzteren beiden mit stärkeren Wurmgängen, sonst wohlerhalten und in guten, kräftigen Abzügen). Der Nürnberger Zeichner, Stecher, Radierer und Kunsthändler J. A. Böner (1647-1720) ist vor allem für seine historisch interessanten, meist kleinformatigen Darstellungen von Stadtansichten und Trachten aus Nürnberg, Fürth und Umgebung bekannt.
RARE! 7 ORIGINAL LITHOGRAPHS by Pablo Picasso, in folder format, from an unknown publication (no details within), probably circa 1954. All seven lithographs are based on the same templates used for the 1954 Verve no. 29-30 publication. Presented in folder format. The folder itself is an additional (8th) lithograph, very similar to the one used for the cover of "The Human Comedy", printed on harder, criss-crossed cloth paper. Also included: a small photograph of another Picasso print, in b&w. 330x250mm. Soft folder format, with larger red and white lithograph serving as cover for the other lithographs. Folder split halfway along the spine. Front cover stained in several places. Edges worn around cover and all lithographs. One small tear affects cover and all lithograph frames near the corner. Only one lithograph very slightly damaged by this tear. No bending, creasing or staining inside. [SUMMARY]: Overall, this extremely rare collection of original Picasso lithographs is in good condition.
9 ex libris presentati al XXV Congresso di Exlibri di Milano da Fumiko Yokoyama (xilografie, cm 10 x 6,5 e 7,8 x 6), Takao Yokoyama (xilografia 15 x 7,5), Yu Yuen-hong (xilografia cm 10 x 15), F. I. Van Damme (xilografia cm 15 x 12,5), Jens Rusch (Acquaforte cm 8 x 19,6), Rudolf Kuenzi (xilografia, cm 17 x 9), Jakob Demus (acquaforte, cm 11,6 x 9), Gunter Egger (Acquaforte, cm 9 x 9,8) . . pp.. . Ottimo (Fine). . . .
305:508 mm, mounted on cardboard. Fine, large horizontal watercolour picturing a noble lady nude in the bathtub under a parted canopy, with ladies-in-waiting staring aghast or trying to shield their mistress from view, while four puttos gracefully fly from the canopy, a gentleman in 18th-century costume, seated on a sopha, faces the scene, and a small orchestra plays at far right. - A rare example of a risqué drawing by Shepard, best known for shaping the definitive image of "Winnie-the-Pooh", but also a prolific staff-member of "Punch" and illustrator of favourites such as "The Wind in the Willows" and "David Copperfield". - Some spotting. Signed in red "Ernest H. Shepard" at lower right. While the drawing is clearly marked for reproduction (size markings; notes "Sketch 3 Colour Double"; "Henry Stone" [i.e., the Banbury-based colour printing and photo-engraving concern], etc.), it is unclear if it was actually published - the book for which it was intended could not be traced, and the subject matter does not fit easily into the artist's known canon, the flamboyant period costumes reminiscent of his work for "Everybody's Pepys", but also showing Shepard as a highly accomplished, albeit tamer disciple of Aubrey Beardsley with an inclination toward Rococo rather than Art Nouveau.
310:245 mm, under oval mat. A seated young lady, handkerchief in hand, smiling and eyes cast down bashfully, wearing a white bonnet and a dark, semi-transparent cloth flung over her cape, her petticoat having slipped to her thighs and revealing her tightly closed legs from the knees downward. - A rare example of a risqué drawing by Shepard, best known for shaping the definitive image of "Winnie-the-Pooh", but also a prolific staff-member of "Punch" and illustrator of favourites such as "The Wind in the Willows" and "David Copperfield". - Slightly warped. No publication of this image could be traced.
Lithographie (Blattmaß ca. 483:607 mm). Das wohl eindrucksvollste Einzelblatt aus der 55 Blätter umfassenden Folge "Laxenburg bei Wien in bildlicher Darstellung", die 1820-26 in Wien erschien. "Privatdruck auf Befehl Kaiser Franz I., in sehr kleiner, nicht für den Handel bestimmter Auflage erschienen" (Nebehay/W.). - Die Ränder gering angestaubt bzw. geknittert, sonst tadellos. Nebehay/Wagner 359, 36.
Fine original 19th century tinted lithograph. Image size ca. 160 mm X 220 mm. Paper size ca. 240 mm X 315 mm. Artists' and Publisher's names printed below image. In overall very good condition. (Some foxing; traces of pencil marks on verso.) - - We offer more prints from this series. Write for a full list. - - Several of the finest bronze cannon and mortar barrels which were captured in the East Indies by the soldiers of the First-, Second-, and Third Dutch Expedition Force (1846, 1847, and 1849 respectively) were brought to the Netherlands as a gift to the King. In 1880, the artists father and son van Looy made an elaborately detailed and delicately executed set of lithographs, drawn on stone, of practically the entire booty. The prints were pulled by the famous stone-lithographers firm of S. Lankhout & Co., of The Hague, and published in 1881 by Publisher Gouda Quint, of Arnhem. Beautifully decorative. Scarce.
Fine original 19th century tinted lithograph. Image size ca. 160 mm X 220 mm. Paper size ca. 240 mm X 315 mm. Artists' and Publisher's names printed below image. In overall very good condition. (Some foxing; very light pencil mark.) - - Several of the finest bronze cannon and mortar barrels which were captured in the East Indies by the soldiers of the First-, Second-, and Third Dutch Expedition Force (1846, 1847, and 1849 respectively) were brought to the Netherlands as a gift to the King. In 1880, the artists father and son van Looy made an elaborately detailed and delicately executed set of lithographs, drawn on stone, of practically the entire booty. The prints were pulled by the famous stone-lithographers firm of S. Lankhout & Co., of The Hague, and published in 1881 by Publisher Gouda Quint, of Arnhem. Beautifully decorative. Scarce.
Fine original 19th century tinted lithograph. Image size ca. 220 mm X 160 mm. Paper size ca. 315 mm X 240 mm. Artists' and Publisher's names printed below image. In overall very good condition. (Spot; miniature triangular stamp just touching image area.) - - Several of the finest bronze cannon and mortar barrels which were captured in the East Indies by the soldiers of the First-, Second-, and Third Dutch Expedition Force (1846, 1847, and 1849 respectively) were brought to the Netherlands as a gift to the King. In 1880, the artists father and son van Looy made an elaborately detailed and delicately executed set of lithographs, drawn on stone, of practically the entire booty. The prints were pulled by the famous stone-lithographers firm of S. Lankhout & Co., of The Hague, and published in 1881 by Publisher Gouda Quint, of Arnhem. Beautifully decorative. Scarce.
Fine original 19th century tinted lithograph. Image size ca. 220 mm X 160 mm. Paper size ca. 315 mm X 240 mm. Artists' and Publisher's names printed below image. In overall very good condition. (Miniature triangular stamp just touching image area.) - - Several of the finest bronze cannon and mortar barrels which were captured in the East Indies by the soldiers of the First-, Second-, and Third Dutch Expedition Force (1846, 1847, and 1849 respectively) were brought to the Netherlands as a gift to the King. In 1880, the artists father and son van Looy made an elaborately detailed and delicately executed set of lithographs, drawn on stone, of practically the entire booty. The prints were pulled by the famous stone-lithographers firm of S. Lankhout & Co., of The Hague, and published in 1881 by Publisher Gouda Quint, of Arnhem. Beautifully decorative. Scarce.
