CALDERARA, Antonio & Heinz GAPPMAYRMareMagnum
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12 litografie originali a 3 colori di Antonio Calderara (cm 23,5x10), firmate e datate a matita dall'Artista sul retro. Testo in tedesco di H. Gappmayr ''Farbe, Mab und Licht" ("Misura, colore, luce") Stampato su carta Filicarta. Cm 24x10,5. pp. 36. . Ottimo (Fine). . Prima edizione di 90 esemplari numerati (First edition of 90 numbered copies). .
215X215 mm. Unpaginated. Soft cover. Cover is worn at edges and corners. Pen inscription on second page - no damage to text. Pen markings on few pages - no damage to text. Pages slightly yellowing. Else in good condition.
IN HEBREW AND ENGLISH. 22X22 cm. 51 pages. Softcover. In good condition.
The long-awaited fourth and final volume of the catalogue raisonne. New, in dj and slipcase. Includes two original woodcuts.
- Lucien Vogel éditeur, Paris Mai 1920, 18x24cm, une feuille. - Original color print heightened with palladium, printed on vergé paper, signed in 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 abondamment rehaussée au palladium, tirée sur papier vergé, signée en bas à droite de la pl
- Lucien Vogel éditeur, Paris Mai 1920, 18x24cm, une feuille. - Estampe originale en couleur abondamment rehaussée au palladium, 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 m
28.5x20.5 cm. Unnumbered pages. Softcover. Cover slightly chafed. Else in good condition.
This book has suffered a grisly stain to the inside of the rear cover and top of the last hundred or so pages. A few loose pages at the front. Most of the plates are in good shape. Cover is quite worn. Previous owner's pencil notes on front endpaper. 9 1/2"w x 11 7/8"h. 312 pages. No date shown; circa 1890's.
pp. vi + 80 plates. All edges gold gilt. Folio. 320 mm. Loose in original full blue cloth binding; decorated in gilt, black, and blind. Black endpapers chipped. Binding quite worn, but still attractive. Plates and text in excellent condition. Sir John Everett Millais (1829-1896) was a greatly celebrated English painter and illustrator, and one of the founders of the Pre-Raphaelite Brotherhood. ART4
Quattro serigrafie originali componibili a colori di Michelangelo Conte, numerate, firmate e datate a matita (cm 33x23), . Presentazione di Giuseppe Appella Serigrafie stampate su carta Usomano di gr. 220 dalla Serico di Macerata. Es. 35/99. 4to. pp. 4 + stampe. . Ottimo (Fine). . Edizione originale di 99+XXX es. numerati. .
21x27 cm. 20 pages. Softcover. There is a price sticker on the front cover. Else as new.
VOLUME I ONLY (Erster Band). RARE album with beautiful graphic illustrations with short descriptions of some of the most remarkable places and cites in Europe. 265x185mm. 108 pages. Brown marbled board Hardcover rebound with cloth spine. Text block edges dyed red. Cover heavily rubbed and scratched. Cover corners and edges bumped and worn/peeling. Spine slightly stained. Spine edges peeling. Previous owner's name written in ink on front whitepage. Front whitepages dirty and wrinkled; edges worn. Binding visible on rear inner cover and between several pages. Contents page pasted on rear endpaper. Page 108 upper edge torn (60mm) - NO damage to text/plate. Most pages bottom corner and few pages upper corner slightly bumped/wrinkled. Pages yellowing, wavy and somewhat age-stained. [SUMMARY]: This extremely rare and beautifully illustrated collection of lithographs, all in good condition and ready for framing, is otherwise in good condition.
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked boards, foxing to page edges and no bumping to very sharp corners. Protected in glassine jacket.. All twelve colour prints in excellent condition in folder at front plus 31pp. Techniques of water colour, pastel and print plus full size colour plates and descriptions with emphasis on the fresco or wall painting.
No marks or inscriptions. No creasing to covers or to slightly sunned spine. A very clean very tight copy with bright unmarked boards, foxing to page edges and no bumping to corners. Protected in glassine jacket.. All twelve colour prints in excellent condition in folder at front plus 31pp. Full size colour plates and descriptions featuring the artist as a critic of society. Scarce volume in this series.
No marks or inscriptions. No creasing to covers or to slightly sunned spine. A very clean very tight copy with bright unmarked boards, foxing to page edges and no bumping to very sharp corners. Protected in glassine jacket.. All twelve colour prints in excellent condition in folder at front plus 31pp. Techniques of water colour, pastel and print plus full size colour plates and descriptions.
Acquaforte tradizionale ed elettrochimica / Traditional and electrochemical etching. L'incisione è stata realizzata presso la Kansas State University (Manhattan, Kansas) Timbro a secco dell'Artista. Firma, titolo e numerazione a matita. Esemplare p.d.a.. Cm 40,5x30 (Foglio 53x38). . . Ottimo (Fine). . Edizione originale di 25 es. numerati e firmati . .
Acquaforte ad un colore Firma a matita. Stampata da Alberto Caprini, Roma. Esemplare 11/150. mm 320 x 250 (Foglio 500 x 350). . . Ottimo (Fine). . 150 + XXX + 5 p.d.a.. .
COPY No.4752 OF 6000. LIMITED EDITION intended for inner distribution only for members of Büchergilde Gutenberg (Werbegabe für die Mitglieder der Büchergilde, Exemplar Nr.4752). 225x155mm. 64 pages. Hardcover. Gilt lettering on front cover and spine. Cover and spine yellowing and somewhat stained. Cover corners bumped and worn. Cover edges, spine edges and hinges rubbed. Else in good condition.
Roy. 4to., Third and Best Edition, with very numerous fine coloured reproductions (many full-page and a number on gatefold forma) throughout; cloth, gilt back, a fine copy. This sumptuous standard reference was first published in 1992. The present edition contains valuable updates covering the second and third issues.
INCLUDES ORIGINAL LITHOGRAPH AND NUMEROUS DRAWINGS. 215x280mm. 211 pages. Hardcover. Cover slightly stained. Cover corners bumped. Spine faded. Spine edges slightly bumped. Inner cover with age stains. Rear inner cover partly cracked. Pages yellowing. Else in good condition.
Contains b&w plates. 205x155mm. 63 pages. Hardcover. Gilt lettering. Front cover slightly bent. Cover corners slightly bumped. Spine edges slightly worn. Stamp and sticker on front inner cover. Binding visible between pages 32-33. Pen inscription on first whitepage. Stamp on second whitepage. Pages slightly yellowing. Else in good condition.
The standard catalogue raisonnÈ of the prints, superseding an earlier one that reached only 1973. 216 items reproduced and fully described. Laid in is A SIGNED PROOF ON FINE WOVE PAPER OF THE COLOR ETCHING "Der Akrobatische Pilz" (1976, cat. 177). 4to. Publisher's wraps. FINE AND BRIGHT. Like new.
Xilografia a 3 colori dalla cartella ''Lacrimose'' (3 legni). Questo esemplare p.d.a. presenta solo la stampa di 2 delle 3 lastre (quella centrale e quella sinistra, n. 97, pag. 115 del Catalogo dell'opera grafica di Enzo Di Martino) Firma e data a matita. Stampatore: Giorgio Upiglio, Grafica Uno, Milano. Stampa su carta Hahnemuhle. Timbri a secco dello stampatore e dell'Artista. Esemplare p.d.a.. cm 78x159,3 (Foglio cm 79x170). . . Perfetto (Mint). . Tiratura 42 esemplari. .
Massol S.A.. 2003. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 24 pages. Illustré de photos en couleur et en noir et blanc. Pinatel. Carzou. Rops...
SECOND AND LAST EDITION of the "Mascara Real", the greatest Spanish fete-book of the 18th century and the apex of Spanish etching of the period. Originally printed in 1764 (Palau 156971, "Magnifica publicacion....") in a very small edition, this is the second edition, with ALL TWELVE OF THE FULL-PAGE ETCHINGS (by Defehrt after Tramullas) PRINTED FROM THE ORIGINAL PLATES. Since the original edition was so small, the plates were in a perfect state of conservation when this second edition was printed, and ALL OF THE ETCHINGS ARE ABSOLUTELY BRIGHT AND SHARP. Edition limited to 150 numbered copies, all printed on extremely fine handmade Guarro wove paper. Oblong large folio (22 x 26 inches). Loose as issued in the original portfolio case with ties. BRIGHT AND FINE, WITH NO DEFECTS. Spectacular.
