‎Posters‎

‎SEM (GOURSAT, Georges, dit), dessinateur-lithographe‎

‎LITHOGRAPHIE ORIGINALE PUBLICITAIRE : "GRAND MARNIER" PAR SEM, tirée de l'Album : "white bottoms" by sem 1927‎

‎1927 Une lithographie Originale en couleurs , Format : 51 centimètres de haut par 33 centimètres de large, sur papier blanc, LITHOGRAPHIE ORIGINALE PUBLICITAIRE : "GRAND MARNIER" PAR SEM, tirée de l'Album : "white bottoms" by sem 1927‎

‎SUPERBE ........... TRES RARE ....... en trés bon état (very good condition). trés bon état NOUS SOMMES EN CONGÉ DU 29 AVRIL 2025 AU 13 MAI 2025 merci de votre compréhension!‎

Bookseller reference : 28062

‎SEMPE‎

‎Affiche du film de Murray Lerner, "De Mao ? Mozart".‎

‎Format 120x160 cm.‎

‎SEMPE JEAN JACQUES (1932-2022)‎

‎Neuf Heures du Matin New York‎

‎Paris The New Yorker 1982 800x400mm The New Yorker / Editions du désastre,1982, 800x400mm, impression lithographique en couleurs.Imprimé à Paris chez I.M.L. pour le New Yorker.Très bon état. (103695) + (104481)‎

Bookseller reference : 104481

‎SEMPÉ‎

‎L'AMERIQUE DE JEAN-PAUL MARTINEAU‎

‎Affiche originale. Artis. 1992. Impression en offset. Dim : 603 x 401 mm.‎

Bookseller reference : 3777

‎Sengor Léopold Sedar (Préface de ) ; Adhemar Jean (Introduction de) ; Sorlier Charles (Notices de)‎

‎Les Affiches de Marc Chagall. マルク シャガールのポスター、1978 年‎

‎Tokyo, Publishers 2000 INC 1978 Livre en japonais. In-folio relié 36 cm sur 26. 227 pages. Couverture éditeur plastifiée. Bon état d’occasion.‎

‎Exemplaire N°802 Bon état d’occasion‎

Bookseller reference : 125310

‎SERPAN (Iaroslav)‎

‎SUR LES CRASSIERS DE L’ART, SEMER A TOUS VENTS.‎

‎Affiche imprimée en noir sur papier pelure, 54 x 42 cm, pliée en quatre. Violente attaque contre la médiocrité de la scène artistique parisienne : corps constitués, amateurs, critiques, etc.: « Peindre dans ces conditions ? Il y faut un singulier entêtement, car Paris, marâtre des arts, fait bien les choses en matière d’entrave, d’embauches, d’indifférence et de chausse-trappes ». Rare manifeste publié à l’occasion de l’exposition à la galerie Stadler en mai-juin 1966. Ce fragile document est ici en parfait état.‎

‎Tous nos livres bénéficient d'une réduction de 50% (pour cause de départ à la retraite)‎

Bookseller reference : 14912

‎SERVICE DE PROPAGANDE, MINISTÈRE DES FINANCES]‎

‎POUR LA FRANCE DE TOUJOURS. SOUSCRIVEZ AUX BONS DU TRÉSOR‎

‎Paris Ministère des Finances 0 Affiche en couleurs. Format : 60cm x 80cm. Procédé d'impression: lithographie. Conditionnement : pliée. Publiée entre 1939 et 1945. imprimerie : paul Dupont à Clichy. (fente d'un cm en bordure inférieure mais sans manque, marques de pliure en bordure). Affiche de propagande réalisée par Lucien Boucher (1889-1971). Coloris frais.‎

Bookseller reference : 017696

‎SESBOÜE Suzanne‎

‎Costumes parisiens. Manteau de fillette en velours bleu garni de Skungs. Guêtres de Suède blanc (pl.34, Journal des Dames et des Modes, 1912 n°19)‎

‎- s.n., Paris 1912, 14x22,5cm, une feuille. - Estampe originale en couleur, rehaussée au palladium, tirée sur papier vergé, signée en bas à droite de la planche. L'une des premières revues de mode françaises, parue quelques temps avant la fameuse Gazette du bon ton et réunissant les grands artistes français de la mouvance Art déco. Le Journal des dames et des modes est une revue trimensuelle de mode française illustrée créée en 1797. Sa publication est stoppée en 1839 avant d'être reprise en juin 1912 sous l'impulsion de Tommaso Antongini, le secrétaire, ami et biographe de Gabriele d'Annunzio. Elle disparaîtra en août 1914 à l'aube de la Première Guerre mondiale. La revue était tirée à 1279 exemplaires ce qui en fait, pour l'époque, une publication relativement confidentielle. Les 186 planches, d'une grande finesse, sont gravées sur papier fort puis coloriées au pochoir. Elles représentent, la majorité du temps, des femmes, mais aussi des hommes et des enfants. Les modèles ne sont pas, à la différence de ceux de la Gazette du bon ton dont la publication verra le jour quelques mois plus tard, ceux des couturiers de renom mais sont le fruit de l'imagination des illustrateurs eux-mêmes. Les pochoirs sont, la plupart du temps, exécutés par George Barbier, mais d'autres artistes collaborent à la revue : Léon Bakst, B. Berty, Bernard Boutet de Monvel, Roger Broders, Jan van Brock, Umberto Brunelleschi, H. Robert Dammy, Étienne Drian, Abel Faivre, Marie-Madeleine Franc-Nohain, Xavier Gosé, Paul Iribe, Kriegck, Victor Lhuer, Pierre Legrain, Charles Martin, Fernand Siméon, Ismael Smith, Armand Vallée et Gerda Wegener. Nombre de ces illustrateurs seront également associés à La Gazette du bon ton. Leurs travaux, emblématiques du mouvement Art déco, soulignent l'influence de l'orientalisme et des costumes des ballets russes tout en les inscrivant dans les activités quotidiennes des Français aisés de l'époque. Dès la préface du premier numéro de 1912, Anatole France déclare : « Au bout de soixante-quinze ans, il renaît. Il renaît par les soins de quelques esprits ingénieux et artistes. Il renaît pour les curieux (s'il en est encore) que ne contentent pas les journaux de modes tirés à plusieurs milliers et illustrés par la photographie. Et si les éditeurs nous rendent très exactement, dans son format, avec son papier, son impression, ses procédés de gravure et de coloris, le vieux classique des modes d'autrefois, c'est qu'ils entendent le continuer agréablement et devenir les classiques charmants de la mode d'aujourd'hui et de demain. » [ENGLISH DESCRIPTION ON DEMAND]‎

‎SEUND JA RHEE‎

‎Gravure sur bois‎

‎Cannes Galerie Cavalero 1963 Affiche éditée par la Galerie Cavalero pour une exposition de Seund Ja Rhee. Gravure originale en 3 couleurs sur bois de noyer. N°54 de l'Oeuvre gravé et N°V des affiches. Il existe 3 variantes de couleurs de cette affiche .‎

Bookseller reference : 23aff06

‎Seymour CHWAST‎

‎Affiche Seymour Chwast : An American in Paris. Barklays of Broadway, Showboat, Easter Parade, Brodway Melody of 1936. Gigi, Gabin in the Sky, Ziegfeld Folies. A tribute to Arthur Freed. June 20 -August 20, Gallery of Modern Art, 2 Columbus Circle, N.Y. Raymond Rohauer, Film Curator and Program Director.‎

‎New York, Personality Posters Inc, 1967, 75x101,50 cm, S. Chwast (New York, 1931 - ...), scénariste et dessinateur américain, fondateur avec Milton Glaser du "Push Pin studio" dans les années 1960. Petites déchirures marginales et petits trous dans le fond jaune. Quelques plis (particulièrement visibles sur les photos). Imprimé en jaune, rose, orange et bleu sur vélin gauffré.‎

Bookseller reference : 81316

‎Shahn, Ben; Kao, Deborah Martin; Katzman, Laura; Webster, Jenna‎

‎Ben Shahn's New York : The Photography of Modern Times‎

‎A clean, unmarked book with a tight binding. Light wear, small tears and spots to cover. 9"w x 10"h. 340 pages.‎

‎Shelton Gilbert:‎

‎[Corrida].‎

‎Affiche au format 40 x 60, à l'état de neuf.‎

Bookseller reference : 3077

‎Shelton Gilbert:‎

‎France 1998. Official Freak Brothers poster.‎

‎Affiche au format 40 x 61 cm., à l'état de neuf.‎

‎Nous en avons trouvé une autre dans une galerie américaine pour... 425 $ !‎

Bookseller reference : 3079

‎Shelton Gilbert:‎

‎Freewheeling' Franklin dit : "La dope fait mieux passer les périodes sans argent que l'argent ne fait passer les périodes sans dope".‎

‎Affiche au format 41 60 cm., à l'état de neuf. 2 exemplaires pour 40 francs suisses (prendre contact si vous êtes intéressé. . . )‎

Bookseller reference : 2881

‎Shelton Gilbert:‎

‎Starry night in Amsterdam.‎

‎Galerie Thé-Troc. Affiche au format 30 x 43 cm., à l'état de neuf.‎

‎La même, avec quelques plis, à moitié prix‎

Bookseller reference : 3076

‎SHIRLEY McLAINE - BILL PAXTON - JULIETTE LEWIS‎

‎AFFICHE DE CINEMA - ETOILE DU SOIR THE EVENING STAR‎

‎ROBERT HARLING. Non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Affiche de cinéma 120 cm x160 cm. Présenté par Paramount Pictures et Rysher Entertainment.. . . . Classification : 0-Affiches Cinéma‎

‎Acteur suite : Miranda Richardson, Ben Johnson, Scott Wolf, George Newbern, Marion Ross, Mackenzie Astin, Donald Moffat, Jack Nicholson. Une production de David kirkpatrick. Musique de William Ross. Co producteur Dennis Bishop. Costumes de Renée Ehrlich kalfus. Montage de Priscillia nedo-Friendly. Chef réalisateur Bruno Rubeo. Directeur de la photo Don Burgess. D'après le roman de Larry McMurtry. Scénario de Robert Harling. Produit par David kirkpatrick. Classification : 0-Affiches Cinéma‎

Bookseller reference : R100000083

‎Shirow Masamune:‎

‎Compass.‎

‎Affiche au format 68 x 98cm., en très bel état.‎

‎Nous ne mettrons pas en ligne toutes nos affiches manga, mais une liste complète est en préparation : demandez-la !‎

Bookseller reference : 3525

‎Signac.‎

‎Signac. Affiche éditée à l'occasion de l'exposition "Les Plaisirs de L'été" à la Galerie de Paris du 16 juin au 24 juillet 1965.‎

‎Une affiche de 50 x 70 cm; lithographie de Mourlot.‎

‎Manqueà l'angle inférieur droit. Sinon bel état. Voir photo.‎

Bookseller reference : 15785

‎SIGNORINA, 10.000.‎

‎Locandina pubblicitaria per la commedia ungherese diretta da Béla Gaàl.‎

‎Manifesto litografico originale cm 204x98 intelato, perfettamente conservato.. .‎

‎Silvy H.:‎

‎[Navire].‎

‎Sérigraphie au format 24,5 x 32.‎

‎Tirage limité à 111 exemplaires numérotés, signés par l'artiste (plusieurs numéros disponibles).‎

Bookseller reference : 15485

‎SIMEON‎

‎Le Retour des autans. Tailleur et Robe d'après-midi, de Doeuillet. (La Gazette du Bon ton, n°7 - Planche 55 )‎

‎- Lucien Vogel éditeur, Paris [circa 1920], 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'une‎

‎SIMEON Fernand‎

‎Au bal noir et blanc. Manteau du soir (pl.25, La Gazette du Bon ton, 1921 n°4)‎

‎- Lucien Vogel éditeur, Paris 1921, 18x24cm, 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'une des plus b‎

‎SIMEON Fernand‎

‎La Lettre surprise (pl.3, La Gazette du Bon ton, 1920 n°1)‎

‎- Lucien Vogel éditeur, Paris Février 1920, 18x24cm, une feuille. - Original color print heightened with gold, 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 rehaussée à l'or, tirée sur papier vergé, signée en bas à gauche de la planch‎

‎SIMEON Fernand‎

‎Vous avez vu ? Cette petite. Robe de promenade en Parquetine de Rodier. (La Gazette du Bon ton, n°4. Année 1920 - Planche 24 )‎

‎- Lucien Vogel éditeur, Paris 1920, 19,5x25cm, une feuille. - Original color print, printed on vergé paper, the signature does not let identify the artist. 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, la signature ne permet pas d'identifier l'artiste. Gravure orig‎

‎Simon (Tschopp):‎

‎[Dodgers].‎

‎Sierre, Impression Rangé. Sérigraphie au format 70 x 50 cm., à l'état de neuf.‎

‎Tirage limité à 80 exemplaires numérotés et signés par Simon.‎

Bookseller reference : 3415