‎Affiches‎

‎BRAUN BUDAÏ (Vera).‎

‎(Affiche peinte) Exposition de peinture, Galerie UNIP, Lausanne.‎

‎Lausanne, galerie U. N. I. P., L’Art contemporain. Affiche imprimée de l’exposition Vera Braun Budaï, du samedi 5 mai au mercredi 23 mai 1973. Enrichie d'une composition à la peinture à l'huile en jaune et noir dans la partie supérieure. Signée (64/100 cm). Trace de pli central, petite déchirure sans gravité sur le côté gauche.‎

书商的参考编号 : AWD-185

‎BRAD PITT - ANTHONY HOPKINS‎

‎AFFICHE DE CINEMA - RENCONTRE AVEC JOE BLACK‎

‎MARTIN BREST. 1998. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 60 x 155 cm avec en badeau la date de sortie.. . . . Classification : 0-Affiches Cinéma‎

‎Classification : 0-Affiches Cinéma‎

书商的参考编号 : R100000452

‎BRADON ADAMS - EVERETT McGILL - WENDY ROBIE‎

‎AFFICHE DE CINEMA - LE SOUS-SOL DE LA PEUR - THE PEOPLE UNDER THE STAIRS‎

‎WES CRAVEN. Non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Affiche de cinéma 120 cm x160 cm. Présenté par Alive Films.. . . . Classification : 0-Affiches Cinéma‎

‎Acteur suite : A. J. Langer. Musique de Don Peake. Chef décorateur Bryan Jones.Directeur de la photographie Sandi Sissel. Producteur exécutif Shep Gordon et Wes Craven. Produit par Marianne Maddalena et Stuart M. Besser. Ecrit par Wes Craven. Classification : 0-Affiches Cinéma‎

书商的参考编号 : R100000153

‎Brayer Yves‎

‎Affiche d'exposition originale Yves Brayer,Galerie 65 Cannes 1972‎

‎1972,affiche,lithographie par Mourlot.Exposition Yves Brayer du 25 août au 10 septembre 1972,65 cm par 53 cm.Bon état.Poc1.‎

书商的参考编号 : XRP-11748

‎BRAQUE GEORGES‎

‎Derniers Messages‎

‎Paris Arte 1967 Affiche lithographique grand format ( 160 X 120 cm) pour une exposition Georges Braque à la Galerie Maeght en 1967. Affiche entoilée traces de pliures.‎

书商的参考编号 : aff004

‎BRADLEY Will‎

‎His Graphic Art. A collection of his posters,illustrations,typographic designs and decorations‎

‎Clarence P.Hornung.1974.Gd.in-,couverture souple illustrée en couleurs, sous rhodoïd.89 pages.Texte en anglais et très nombreuses reproductions,noir et couleurs.TBE.‎

书商的参考编号 : 39358

‎Brantonne:‎

‎Kesselring, le dernier éditeur avant la littérature !‎

‎Rare affiche avec un portrait en pied de l'éditeur. Format 30 x 42 cm. Pli central.‎

书商的参考编号 : 16166

‎BRAQUE GEORGES‎

‎Le Papillon‎

‎Paris Berggruen 1953 Affiche lithographique en 6 couleurs imprimée par Mourlot d'après un dessin original. Affiche réalisée pour une exposition à la Galerie Berggruen. Format 60.5 X 41,5 cm, tirage limité à 750 exemplaires. Ref. Mourlot N° 7‎

书商的参考编号 : 2018111301

‎BRAQUE GEORGES‎

‎Oiseau‎

‎Edinburgh Royal Scotish Academy 1956 Affiche lithographique en 5 couleurs imprimée par Mourlot d'après un dessin original. Affiche réalisée pour une exposition de Georges Braque à la Royal Scotish Academy puis à Londres. Format 73.5 X 52 cm, tirage à 350 exemplaires ( + 350 pour l'exposition de Londres). Exemplaire sur Arches filigranné Mourlot. Poster from an edition of 350 prints, Lithographic print in 5 colors by Mourlot , rare copy on Arches paper watermarked Mourlot.‎

书商的参考编号 : 2018071402

‎BRASSAI.‎

‎Photo-carte avec la signature autographe de Brassaï au verso (années 1970).‎

‎Carte postale (10,5 x 15 cm), années 70. Annonce du documentaire télévisé "Champ visuel Brassaï - 19 décembre 22 h - 2e chaîne couleur". Signé au dos par le photographe.‎

书商的参考编号 : 68129

‎BRANCUSI Constantin‎

‎"Eve" Dessin original préparatoire à l'encre‎

‎- s.d. (ca 1937), 9x12,9cm, un dessin. - Eva, original drawing signed [ca 1937] | 9 x 12,9 cm | one drawing Original drawing signed by Constantin Brâncu?i in brown ink on cream paper, from the collection of Ion Alexandrescu, a stone mason who worked with the sculptor in 1937-1938 on the creation and installation of the monumental ensemble at Târgu Jiu, and more specifically on The Door of the Kiss and The Table of Silence. Brâncu?i's preparatory drawings for his sculptures are extremely rare, as opposed to most of the few drawings by the artist seen on auctions, which are mainly figurative (women and anatomical studies). We submitted this unpublished work to renowned Brâncu?i specialist Dr Doïna Lemny who authenticated and dated it with precision. As an honorary curator of the Musée National d'Art Moderne, Georges-Pompidou in Paris where she was in charge of the Brâncu?i collection for thirty years, she is the author of numerous monographs and essays on the artist. She provided the drawing's analysis: "This small drawing traced in ink with a quick hand on small paper calls out by the novelty of the composition of geometric forms: two superimposed cubes supporting an oval head framed in a square acquire a caryatid posture supporting an architrave, clearly drawn at the top of the figure. The quick, firm line indicates the artist's intention to note elements for a more complex composition that he would have intended to make." Although undated, this drawing can be related to two other similar compositions made on 3 November 1937. The first, of the same size (9 x 13 cm), bears the title "Eva" and is enriched on the reverse with a drawing of the Kiss and a message addressed to Ion Alexandrescu. The second is larger (22 x 32 cm) and has the same composition as our drawing, but with proportions that more explicitly evoke a female figure (see opposite). In these two other drawings, Brâncu?i indicates the materials he plans to use for this future set of sculptures: wood (in Romanian: lemn) and plaster (gips). The drawing we offer is untitled and does not bear indications regarding the materials, but is in coherent with the tangible research of the other two compositions, and could be a stylisation of the original drawing for a more abstract sculpture project. The interest in this biblical female figure crossed Brâncu?i's artistic career. As early as 1916, he sculpted a curvaceous, Africanising wooden figure to which he gave the title "Ève". Reworking it, he finally created a more totemic sculpture in 1921: Adam and Eva. As a "constructed" work, Adam and Eve already announced Brâncu?i's intention to take up the theme of the original woman, mother and protector, who is here pruned of male attributes and made into an elevation of primary and matrix forms: the block, the egg and the surface. Provenance: collection of the stone mason Ion Alexandrescu, friend and close collaborator of the Romanian sculptor. [FRENCH VERSION FOLLOWS] Dessin original signé de Constantin Brancusi à l'encre brune sur papier crème, provenant de la collection d'Ion Alexandrescu, tailleur de pierre ayant été le collaborateur du sculpteur en 1937-1938, pour la réalisation et l'installation de l'ensemble monumental de Târgu Jiu, plus particulièrement pour La Porte du Baiser et La Table du silence. Les rares dessins passés en vente sont essentiellement figuratifs (femmes et études anatomiques), mais les travaux préparatoires à ses sculptures sont d'une excessive rareté. Nous avons soumis au docteur Doïna Lemny, conservatrice honoraire du Musée National d'Art Moderne où elle eut la charge du fonds Brâncu?i durant trente années, et autrice de nombreuses monographies et essais sur l'artiste, cette œuvre inédite qu'elle a pu authentifier et dater avec précision : « Ce petit dessin tracé à l'encre d'une main rapide sur un papier de petites dimensions interpelle par la nouveauté de la composition de formes géométriques : deux cubes superposés supportant une‎

‎Brauer, Arik‎

‎Brauer. Paintings and Watercolors. Exhibition from November 14. to December 2. 67. Landau-Alan Gallery, 166 Madison Avenue New-York.‎

‎Wien, Ing. Donnerer, 1967. Farb. lithogr. Plakat (60,7 x 42,3 cm).‎

‎Seltenes Ausstellungsplakat mit der Farblithographie ?Mondkapsel? (Moon Capsule). - Unterer Rand der Darstellung im Druck bezeichnet ?reproduction and printing management by ing. donnerer vienna?. - Ecken u. oberer Rand mittig m. kl. Einstichen. Wenige winzige Randläsuren.‎

书商的参考编号 : 65847

‎Braunbeck, Ludwig‎

‎Paradies und Höllenzauber. Künstler-Gesellschaft ?Drei Farben?. Künstlerfest in allen Räumen der ?Blüte?.‎

‎München, Oscar Consée, o. J. (um 1930). Farb. lithogr. Plakat (98,5 x 68,5 cm).‎

‎Einige tlw. geklebte (u. dadurch gebräunte) Randeinrisse. Rechter Rand durchg. hinterlegt (dadurch schmaler gebräunter Streifen). Schwache Knickspuren. Linke untere Ecke m. kl. Nummern.‎

书商的参考编号 : 65914

‎BRETEGNIER Jean-Marc / PASQUIERS Olivier / SEONNET Michel / des habitants de Chaumont‎

‎Pas de ville sans visages‎

‎1996. Dumerchez, 1996. Format 17x21 cm, reliure spirale, non pagine en continu. Tres bon etat.‎

书商的参考编号 : 44882

‎BRETAGNE – (Huelgoat)‎

‎« En route pour le pardon » –‎

‎Belle affiche (101 x 71 cm) éditée par les Chemins de fer de l’Etat représentant une scène de pardon breton, illustrée par Paul-Adolphe Kauffmann. (Illustrateur français, 1849-1940). Entoilée.‎

书商的参考编号 : 63C26

‎Breuste, H.J‎

‎Modelle. Zeichnungen. [Plakat] Kestner-Gesellschaft Hannover. 30. Mai bis 17.August 1975.‎

‎Hannover., Kestner Gesellschaft., 1975. 84 x 59 cm., Umschlag Geringe Knitterspur am rechten Steg, sonst sehr gutes Exemplar.‎

‎[Bei Versand von Plakaten in Rollenform erhöhen sich die Versandkosten um 1,50 Euro!]‎

书商的参考编号 : 33016AB

‎Breuste, H.J‎

‎Modelle. Zeichnungen. Kestner-Gesellschaft Hannover.Studio Katalog A / 1975.‎

‎Hannover., Kestner Gesellschaft., 1975. Groß 8°. 8 S. OKarton. Sehr gutes Exemplar.‎

‎Faltkatalog auf 61 x 41 cm, mit Abbildungen. Dabei: Geplante Ausstellungen 1972-1973, Kestner Gesellschaft. Klappkarte.‎

书商的参考编号 : 33443AB

‎Bridel Françoise:‎

‎Affiche pour le 700e anniversaire de la Confédération.‎

‎Sérigraphie Humbert-Droz, 1991. Affiche sérigraphiée grand format, faisant partie d'une série réalisée par des dessinateurs du cru (toutes au format d'environ 70 x 100 cm.) célébrant à leur manière le 700e anniversaire de la Confédération suisse (1991, vous en souvient-il?).‎

书商的参考编号 : 3209

‎BRIHAT (Denis) & ATGET ( Eugène)‎

‎EXPOSITION GALERIE LA DEMEURE - 1972.‎

‎Affiche originale. Imprimerie Jean Munier, Paris. 1972. Impression en offset. Dim: 470 x 404. Joint le catalogue de l'exposition. Textes de Denis Brihat et Jean Pierre Sudre. Photographies reproduites en noir et blanc. Dim: 210 x 207 mm. Non paginé.‎

‎Affiche réalisée à l'occasion d'une exposition collective sur DENIS BRIHAT et EUGENE ATGET en 1972 à la galerie La Demeure à Paris‎

书商的参考编号 : 3160

‎BRIDGE Joé & WILLETTE Adolphe POULBOT Francisque‎

‎République de Montmartre - souscription pour l'arbre de Noël des petits poulbots au cirque Médrano‎

‎- L'Emancipatrice, 5, rue de Pondichéry, Paris 1929, 10,5x13,7cm, une feuille. - Rarissime bulletin dépliant de souscription pour l'arbre de Noël des enfants de la République de Montmartre, surnommés les "petits poulbots", datant de l'année 1929. Sur le premier plat, figure une belle estampe originale signée Francisque Poulbot représentant deux petits enfants devant la cheminée, et légendée "-Pleure pas, y a notre arbre de Noël au mois de Janvier". Sur le second plat, une seconde estampe donne le lieu du rendez-vous : un enfant chuchote à un autre "ça sera à Médrano". Dans l'esprit de la Commune de Paris, la République de Montmartre fut créée en 1921 par les artistes parisiens Joé Bridge, Adolphe Willette, Jean-Louis Forain, Francisque Poulbot, Maurice Neumont, Louis Morin, Maurice Millière, Raoul Guérin et Jules Depaquit. Ses fêtes et banquets, souvent organisés dans les lieux mythiques de Montmartre (Moulin de la Galette, cirque Médrano, Moulin Rouge) eurent pour but de souder la communauté montmartroise par l'entraide et la sociabilité. Rare et esthétique témoignage du traditionnel "Arbre de Noël" des enfants défavorisés de la République de Montmartre, qui se déroulait non pas en décembre mais en janvier. [ENGLISH DESCRIPTION ON DEMAND]‎

‎BRISSAUD Pierre‎

‎Belle journée. Robe d'après-midi, de Jeanne Lanvin. (La Gazette du Bon ton, n°3. Année 1921 - Planche 24 )‎

‎- Lucien Vogel éditeur, Paris 1921, 19,5x25cm, une feuille. - Original color print, printed on vergé paper, non signed. 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, non-signée. Gravure originale réalisée pour l'illustration de La Gazette du bon ton, l'u‎

‎BRISSAUD Pierre‎

‎L'indiscrète. Robes de garden-party de Chéruit. (La Gazette du Bon ton, n°6. Juin 1914 - Planche 59: )‎

‎- 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'ill‎

‎BRISSAUD Pierre‎

‎Les Travestis dans le parc (pl.1, La Gazette du Bon ton, 1913 n°11)‎

‎- Lucien Vogel éditeur, Paris Septembre 1913, 36,5x24cm, une feuille. - Pierre BRISSAUD Les Travestis dans le parc, Original color print from La Gazette du Bon ton Lucien Vogel éditeur | Paris September 1913| 36.5 x 24 cm | one leaf 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. [FRENCH VERSION FOLLOWS] Estampe originale double en couleur, tirée sur papier vergé, signée en bas à droite dans la planche. 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 (sœur 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 c‎

‎BRISSAUD Pierre‎

‎On aurait pu nous inviter aussi...Robes d'après-midi et robe du soir de Doucet. (La Gazette du Bon ton, n°6. Juin 1914 - Planche 61 )‎

‎- 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

‎BRISSAUD Pierre‎

‎Rentrez vos blancs moutons. Une bergère par Chéruit. (La Gazette du Bon ton, n°4, Année 1913 - Planche VIII )‎

‎- Lucien Vogel éditeur, Paris 1913, 19,5x25cm, 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'illus‎