(LANVIN Jeanne) BRISSAUD PierreMareMagnum
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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 droite 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
- Lucien Vogel éditeur, Paris 1924, 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'illustra
- Lucien Vogel éditeur, Paris 1914, 38,2x24,5cm, 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'ill
- Lucien Vogel éditeur, Paris Juin 1914, 36,5x24cm, une feuille. - Double 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 double originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. Gravure originale réal
Acquaforte appartenente al volume ''Madre'', Ancona, Bucciarelli 1968 Firma a matita. Incisione applicata su foglio di carta bianca. Esemplare p.d.a.. Cm 27x30 (Foglio 49x34,5). pp.. . Ottimo (Fine). . . .
Acquaforte. Opera appartenente al portfolio pubblicato in occasione del 500° anniversario della nascita di Michelangelo Firma e numerazione a matita. Stampata su carta Zerkalbutten da 250 gr da Schneider, Berlino. Esemplare 173/200. Cm 34x50 (Foglio 60x80). . . Perfetto (Mint). . Tiratura 200 + XX p.d.a.. .
Litografia a 7 colori. Opera appartenente al portfolio pubblicato in occasione del 500° anniversario della nascita di Michelangelo Firma e numerazione a matita. Stampata su carta Arches da 250 gr da Mourlot, Parigi. Esemplare 173/200. Cm 80x60. . . Perfetto (Mint). . Tiratura 200 + XX p.d.a.. .
Acquaforte a 2 colori. Opera appartenente al portfolio pubblicato in occasione del 500° anniversario della nascita di Michelangelo Firma e numerazione a matita. Stampata su carta J. Green da White Ink, London. Timbro a secco dello stampatore. Esemplare 173/200. Cm 58x49 (Foglio 80x60). . . Perfetto (Mint). . Tiratura 200 + XX p.d.a.. .
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.. .
Cinque acqueforti originali su carta color ocra, numerate e firmate, di Walter Piacesi (cm 19x18,5). Uno scritto di Carlo Bo, intitolato ''Lorca, oggi e sempre'', con firma autografa dello scrittore ad inchiostro blu Carta a mano Fabriano. Cm 33x46. pp. 6 + incisioni. . Perfetto (Mint). . Prima edizione di 100 es. numerati. .
Linoleumgrafia a 6 colori Firma a matita. Timbro a secco dello stampatore Giorgio Upiglio, Milano Grafica Uno. Stampata su carta BFK Rives. Esemplare p.d.a.. cm 85x65 (Foglio 89,5x69,5). . . . . Tiratura Waddington Graphics. .
This is an about very good hardcover copy that has been rebound in red cloth, with the front cover of the original edition laid down. This red cloth cover has the title in faded gilt letters and a frame decoration in black with a cameo portrait of the horse 'Gladiator'. There is also a black leather title label on the spine with title in gilt. Internally the text pages which are on soft acidic paper are foxed, the plates, both color and black & white are generally clean and free of foxing. A few color plates have some light foxing on the backs of the pages. Also bound in is the 15 page 'List of a few Exceptionally Attractive Prints'. Some of these pages are also foxed. 11" high X 8" wide, 82 text pages + color plates. 31 black & white + 35 color plates + color frontis. Complete as per the list of illustrations. This book will be securely wrapped and packed in a sturdy box and shipped with tracking..
8vo., with numerous plates; blue cloth, gilt back, a very good, bright, clean copy in unclipped dustwrapper. Reissue of a classic work first published in 1927.
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.
Roy. 4to., First Edition, on laid paper, with a fine frontispiece in photogravure (original captioned guard present) and 86 fine plates (a number in photogravure with captioned guards), free endpapers lightly browned, neat inscription on front paste-down; blue cloth, bevelled boards, upper board framed and lettered in gilt, gilt back, gilt top, uncut, a near fine copy. EDITION LIMITED TO 1250 NUMBERED COPIES (THIS COPY NO. 507).
VG paperback . Auction catalogue. 10090 eng
Each 211 x 168 mm. In identical gilt wooden frames. A pair of atmospheric oriental genre scenes by an unidentified, but obviously professionally trained artist, masterfully capturing the light and mood: a mosque's courtyard with visitors and beggars, and a small bazaar with merchants, pedestrians, and a belly dancer within the picturesque environment of humble dwellings.
In-4°; pp. 492, (4), segue Hymni per totum annum... pp. 70, (2) con colophon Antverpiae excudebat Christophorus Plantinus Architypographus Regius anno MDLXXIII; frontespizio stampato in rosso e nero, entro bordura xilografica e al centro un grande tondo con l’Ascensione della Vergine (il monogramma di firma A.V.L, Antonius van Leest, l’incisore.). L’intero testo (tranne le ultime 70 pagine) è stampato con parti in rosso, ogni pagina entro ricca bordura xilografica a quattro legni. Nel testo illustrazioni di Pieter van der Brocht incise su legno da Antonius van Leest (i nomi dei due artisti fiamminghi si trovano espressi per intero nell’ultima illustrazione, quella dell’Apocalisse, con data 1572; nelle altre incisioni con i monogrammi). Rara edizione, e una delle prime, riccamente illustrata dell’Officium riformato di Pio V, libro d’ore di Plantin, qui nella versione (Variante C) con illustrazioni e bordure xilografiche. Le xilografie a piena pagina sono 19. Legatura in piena pelle con titolo in oro al dorso. Alcuni fori di tarlo passanti al margine interno bianco delle prime e ultime carte.
Lyon, s.e., 1572; 290/170 mm, 1 pp., une feuille. Gravure provenant d'un livre du seizième siècle. Bon état.
pp. (vii), 146 (1), Including (10) full page etched plates and small illustrations. 12 mo. 200 mm. Original paper boards binding; needs rebacking. William Henry Merle (1791-1878) was a journalist and writer in the Regency era. Around 1814 he befriended George Cruikshank (1792-1878) who was a great and famous humorist and illustrator with an extraordinary output. Merle and Cruikshank shared ideas - back and forth - over sixty years. First Edition. **PRICE JUST REDUCED! ENGLAND 6
Jean-Louis Picard. 1992-1993. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. Lot de 4 catalogues illustrés de nombreuses photos en couleur et en noir et blanc. Ventes aux enchères, 1992-1993, Drouot Montaigne. Collection monégasque. Collection de la comtese F.H. Grandes collections. Empire et Restauration...
IN HEBREW AND ENGLISH. 26X19.5 cm. 182 pages. Hardcover. In good condition.
In-4° oblungo; frontespizio inciso e 50 tavole incise all’acquaforte da Pinelli (1781-1835), raffiguranti scene di costume ambientate nella campagna romana; i personaggi sono dediti a giochi, lavori, attività varie della vita quotidiana, anche a Roma e nel regno di Napoli; le ambientazioni sono in Ciociaria, Cerbara, Tivoli, Albano, Fracati, Pietra Terrazzana, Roma. L’indicazione di responsabilità presente su quasi tutti i rami è “Pinelli Fece 1815 Roma”. Buona copia.
29x36 cm sur feuille 38x56cm.
