‎Collectibles‎

‎Paul VERLAINE - Emile COHL‎

‎"Paul Verlaine"" - Les Hommes d'aujourd'hui n°244‎

‎Paris: Léon Vanier 1896. Fine. Léon Vanier Paris 1896 20.30 x 29.80 cm en feuillets ”Paul Verlaine” – Les Hommes d'aujourd'hui n° 244 Léon Vanier Paris 1896 20.3 x 29.8 cm loose in sheets The second and definitive edition the first for some parts as expanded by the author himself two folded sheets. On the front a color lithograph showing Paul Verlaine. Léon Vanier unknown‎

Référence libraire : 73436

‎Paul VERLAINE - Louis ANQUETIN‎

‎Confessions‎

‎Paris: Publication du ""Fin de siècle"" 1895. Fine. Publication du ""Fin de siècle"" Paris 1895 12 x 19.50 cm relié First edition one of 30 numbered copies on Hollande only deluxe copies issued. Bound in cornered red morocco spine with compartments tooled in black gilt date at the foot of the spine marbled paper boards original wrappers preserved binding signed Devauchelle. Illustrated with a frontispiece portrait of the author by Louis Anquetin bearing the autograph signature of Paul Verlaine on the lower part. Provenance: Charles Hayoit library bookplate on the pastedown endpaper. Publication du ""Fin de siècle"" hardcover‎

Référence libraire : 71947

‎Paul VERLAINE - Frederic-Auguste CAZALS‎

‎Dédicaces‎

‎Paris: Bibliothèque artistique & littéraire 1890. Fine. Bibliothèque artistique & littéraire Paris 1890 11.50 x 16 cm relié First edition printed in 350 copies on vergé this copy one of 50 copies signed by Paul Verlaine. Marbled paper boards covers with discolored places and spine faded preserved binding signed by P. Goy & C. Vilaine. Illustrated with a portrait of Verlaine by Frédéric- Auguste Cazals engrave on wood by Maurice Baud and printed on Japon paper. Bibliothèque artistique & littéraire hardcover‎

Référence libraire : 57446

‎Paul VERLAINE‎

‎Fêtes galantes‎

‎Paris: Léon Vanier 1891. Fine. Léon Vanier Paris 1891 12.50 x 19 cm broché sous chemise et étui Later edition on Hollande paper Chemise backed in dark green morocco over marbled paper boards marbled pastedowns and endpapers slipcase edged with same morocco and with boards of the same paper lined with apple-green paper Rare inscription from Paul Verlaine to Achille Segard A small marginal lack to pages 15 & 16 due to paper fault manuscript note “1866” in ink below the date featuring on the upper cover A rare unsophisticated and uncut copy. Léon Vanier hardcover‎

Référence libraire : 45178

‎Paul VERLAINE‎

‎Jadis et Naguère • Past Times and Bygone Days‎

‎Paris: Léon Vanier 1884. Fine. Léon Vanier Paris 1884 11.50 x 18.50 cm relié First edition one of 500 copies no grand papier deluxe issue copies. Half morocco binding spine with five raised bands marbled paper boards framed in gilt mould made flyleaves and pastedowns original wrapper covers preserved binding signed by Thomas Boichot. Handsome copy signed and inscribed by Paul Verlaine to Émile Le Brun to whom Verlaine dedicated one of his poems Dédicaces sonnet XVI.  This copy includes manuscript corrections by Paul Verlaine himself and an exceptional manuscript poem on page 123. A nice copy elegantly bound containing the first printing of the famous Art poétique Art Poetics Verlaine's response to Boileau's Art Poétique. Léon Vanier hardcover‎

Référence libraire : 62077

‎Paul VERLAINE‎

‎La bonne chanson • The Good Song‎

‎Paris: Léon Vanier 1891. Fine. Léon Vanier Paris 1891 12 x 19 cm relié Second edition printed in a small number of copies on Hollande laid paper.   3/4 red morocco five raised bands-spine  gilt date at foot. Slight superficial fading to spine marbled paperboards pebbled flyleaves and pastedowns original covers and spine preserved top edge gilt A finely executed unsigned binding from the late 19th to early 20th century. Provenance: from the library of Simone and André Maurois with their engraved bookplate on front pastedown. Signed and inscribed copy by Paul Verlaine to the opera singer Marie-Blanche Vasnier : ""A Madame Vasnier hommage respectueux. P. Verlaine."" To Madame Vasnier with respectful homage. P. Verlaine' Marie-Blanche Vasnier was the muse of the young Claude Debussy fourteen years her junior to whom he dedicated numerous songs of love. Léon Vanier hardcover‎

Référence libraire : 73309

‎Paul VERLAINE‎

‎La Décoration & l'Art industriel à l'Exposition de 1889 • Decoration and Industrial Art at the 1889 Exhibition‎

‎Le Mans: Typographie Monnoyer 1889. Fine. Typographie Monnoyer Le Mans 1889 22.50 x 33 cm relié First edition of 30 copies printed on Japon paper of this offprint of L'Artiste for November 1890. Contemporary Bradel binding of beige paper boards ex-libris to pastedown. Autograph inscription signed from Paul Verlaine to Edmond Bonnaffé on the justification of printing at end: “Exemplaire de Monsieur E. Bonnaffé. P. Verlaine Monsieur E. Bonnaffé's copy. P. Verlaine”. Edmond Bonnaffé 1825-1903 was a wealthy collector and noted historian of art very close to the artistic movements of the age. These pages by Verlaine are a critical review of the book by Roger Marx of the same name Paris 1890. In it the poet discusses the great names in Art Nouveau such as Bapst Chaplet and Gallé. But above all he writes his famous condemnation of the Eiffel Tower: “This skeletal belfry that will never outlive to the contrary indeed! the archi-centenarians of France and Belgium…”. Indeed on 14 February 1887 Paul Verlaine signed a manifesto of protest published by Le Temps along with other personalities in the arts and literature including Charles-Marie-René Leconte de Lisle Guy de Maupassant Alexandre Dumas fils Sully Prudhomme and so on. Illustrated with figures in text. A good and rare copy. Provenance: collections of Edmond Bonnaffé ex dono André Lefèvre his sale Paris 16 November 1966 Colonel Daniel Sickles his sale Paris 28 & 29 October 1992 Edouard-Henri Fischer. Typographie Monnoyer hardcover‎

Référence libraire : 46593

‎Paul VERLAINE - COLLECTIF‎

‎La revue verlainienne N°2‎

‎Paris: La revue verlainienne 1901. Fine. La revue verlainienne Paris Décembre 1901 13.50 x 21.50 cm agrafé First edition. With contributions by Hector Fleischmann Léon Deubel Rachilde André Lebey Henri Albert Touny-Léris. Minor corner lacks to head and foot of covers handsome interior condition. La revue verlainienne unknown‎

Référence libraire : 52920

‎Paul VERLAINE‎

‎Les mémoires d'un veuf‎

‎Paris: Léon Vanier 1886. Fine. Léon Vanier Paris 1886 12.50 x 19 cm relié First edition one of 22 numbered copies on Hollande justified by Léon Vanier the only large paper copies. Elegant half red morocco over marbled paper boards by Semet & Plumelle spine in six compartments with black fillets gilt date at foot marbled endpapers and pastedowns covers preserved top edge gilt. Manuscript signature of Paul Verlaine on half title. This copy is enriched with a half page autograph letter of Paul Verlaine addressed to his publisher Léon Vanier : ""Mon cher Vanier. J'ai remis dimanche 1 lettre et les épreuves sous enveloppes pour vous à M. Jules Tellier 18 avenue des Gobelins qui a dû mettre ces 2 choses à la poste. Voyez ce qu'il y a à faire je garde l'épreuve et la corrige dans tous les cas. A jeudi. P.V. A very good copy handsomely bound. Léon Vanier hardcover‎

Référence libraire : 55972

‎Paul VERLAINE‎

‎Les uns et les autres‎

‎Paris: Léon Vanier 1889. Fine. Léon Vanier Paris 1889 12 x 18.50 cm broché The first separate edition of which there were no deluxe copies. Illustrated work with a frontispiece portrait of the author by Louis Anquetin. Light foxing of no consequence to the endpapers. Léon Vanier unknown‎

Référence libraire : 38890

‎Paul VERLAINE‎

‎Louise Leclercq‎

‎Paris: Léon Vanier 1886. Fine. Léon Vanier Paris 1886 12 x 19 cm broché First edition printed in 1100 copies on ordinary paper the only printing with 22 on Holland paper. Small lack to head of spine one fold to upper left corner of back board some foxing. Léon Vanier unknown‎

Référence libraire : 85469

‎Paul VIALAR‎

‎Cinq hommes de ce monde‎

‎Paris: Flammarion 1954. Fine. Flammarion Paris 1954 15.50 x 21.50 cm broché First edition one of 35 numbered copies on alfa paper the only deluxe copies after 15 on Lana vellum. Fine copy. Flammarion hardcover‎

Référence libraire : 75727

‎Paul VIALAR‎

‎La caille‎

‎Paris: Denoël 1945. Fine. Denoël Paris 1945 11.50 x 18.50 cm relié First edition one of 25 numbered copies on alfa paper the only deluxe copies. Half cherry red shagreen binding spine with six raised bands decorated with gilt fillets moiré-effect paper boards marbled endpapers and pastedowns covers and spine preserved top edge gilt. Trace of bookplate that has been removed from one pastedown otherwise handsome copy. Denoël hardcover‎

Référence libraire : 72438

‎Paul VIALAR‎

‎Soir‎

‎Paris: Denoël 1938. Fine. Denoël Paris 1938 11.50 x 17.50 cm broché The first edition of which there were no deluxe copies. Beautiful signed autograph inscription from the author to a friend named Mireille. A tiny tear of no consequence to the spine. Denoël unknown‎

Référence libraire : 46608

‎Paul VOIVENEL‎

‎Les sources profondes de notre énergie‎

‎Paris: Edouard Aubanel 1941. Fine. Edouard Aubanel Paris 1941 12.50 x 19.50 cm broché first edition on plain paper. Signed autograph signed by Paul Voivenel to Henri Béraud. Some small foxinges a clear wetting at the head of the title page. Edouard Aubanel unknown‎

Référence libraire : 61043

‎PAUL VON HINDENBURG et al‎

‎1896 - 1920 ORIGINAL ARCHIVE OF MANUSCRIPT POSTCARDS LETTERS PHOTOS AND EPHEMERA TO AND FROM ONE OF GERMANY'S PRE EMINENT FAMILIES AND THE MAN WHO SINGLEHANDEDLY GAVE HITLER THE REINS OF POWER AND THEREBY PUT GERMANY ON THE ROAD TO WORLD WAR II‎

‎Very Good. 1896. On offer is an amazing archive of 32 items of original personal and intimate correspondence and ephemera dated 1896 through 1920 to the family Hindenburg including writings by Hindenburg himself. Postcards letters personal messages photos sent by Paul von Hindenburg and assorted aristocrats of the time to Hindenburg his wife and children. Paul Ludwig Hans Anton von Beneckendorff und von Hindenburg known universally as Paul von Hindenburg the man almost singularly responsible for WWII who as President of Germany placed Hitler in the position of ascension to Germany's head of state. This extraordinary archive whose manuscript items have for the most part postal marks and stamps are in many ways a testament to Hindenburg's monarchist leanings and an homage to the Kaiser and the rest of the royal German family making for a great deal of irony given the method of Hindenburg's fall from power and his aid to Hitler. BIO NOTES: Hindenburg enjoyed a long career in the Prussian Army retiring in 1911. He was recalled at the outbreak of World War I and first came to national attention at the age of 66 as the victor at Tannenberg in 1914. As Germany's Chief of the General Staff from 1916 he and his deputy Erich Ludendorff rose in the German public's esteem until Hindenburg came to eclipse the Kaiser himself. Hindenburg retired again in 1919 but returned to public life one more time in 1925 to be elected as the second President of Germany. Though 84 years old and in poor health Hindenburg was persuaded to run for re-election in 1932 as he was considered the only candidate who could defeat Adolf Hitler. Hindenburg was re-elected in a runoff but nonetheless played an important role in the Nazi Party's rise to power dissolving parliament twice in 1932 and eventually appointing Hitler as Chancellor in January 1933. In February he issued the Reichstag Fire Decree which suspended various civil liberties and in March he signed the Enabling Act in which parliament gave Hitler's administration legislative powers. Hindenburg died the following year after which Hitler declared the office of President vacant and as "Führer und Reichskanzler" made himself head of state. The famed zeppelin Hindenburg that was destroyed by fire in 1937 was named in his honor. Overall VG.; 48mo - over 3" - 4" tall; KEYWORDS: HINDENBURG BERLIN WITTENSTEIN ZEHLENDORF KAISER WILHELM II GERMANY FUHRER HITLER NAZI THIRD REICH MOLTKE GERMANIC WEIMAR REPUBLIC ZEPPELIN ENABLING ACT REICHSTAG FIRE DECREE PAUL LUDWIG HANS ANTON VON BENECKENDORFF UND VON HINDENBURG PRUSSIA WORLD WAR II WWII WORLD WAR 2 HOLOCAUST HANDWRITTEN MANUSCRIPT DOCUMENT LETTER AUTOGRAPH DIARY JOURNAL LOG KEEPSAKE WRITER HAND WRITTEN DOCUMENTS SIGNED LETTERS MANUSCRIPTS PHOTO ALBUM PHOTOGRAPHIC ALBUM HISTORICAL HOLOGRAPH WRITERS DIARIES JOURNALS LOGS AUTOGRAPHS PERSONAL MEMOIR MEMORIAL PERSONAL HISTORY HANDSCHRIFT HANDGESCHRIEBEN MANUSKRIPT SÜTTERLIN VON HAND GESCHRIEBEN HANDSCHRIFTLICH UNIKAT EINZELSTÜCK DOKUMENT SCHRIFTSTÜCK KURRENT KURRENTSCHRIFT DEUTSCHE SCHREIBSCHRIFT OSTPREUßEN KALININGRAD ADEL AMERICANA HANDWRITTEN MANUSCRIPT AUTOGRAPHED AUTHORS DOCUMENT LETTER AUTOGRAPH KEEPSAKE WRITER HAND WRITTEN DOCUMENTS SIGNED LETTERS MANUSCRIPTS HISTORICAL HOLOGRAPH WRITERS AUTOGRAPHS PERSONAL MEMOIR MEMORIAL PERSONAL HISTORY ARCHIVE DIARY DIARIES JOURNAL LOG PRIMARY SOURCE FIRST HAND ACCOUNT SOCIAL HISTORY PERSONAL STORIES LIVING HISTORY ANTIQUITÉ CONTRAT VÉLIN DOCUMENT MANUSCRIT PAPIER ANTIKE BRIEF PERGAMENT DOKUMENT MANUSKRIPT PAPIER OGGETTO D'ANTIQUARIATO ATTO VELINA DOCUMENTO MANOSCRITTO CARTA ANTIGÜEDAD HECHO VITELA DOCUMENTO MANUSCRITO PAPEL HANDSKRIFT AUTOGRAFER EGENHÄNDIGT HANDSKRIVET HANDSKRIVEN MANUSKRIPT BREV SIGNERAD SIGNERAT SIGNATUR NAMNTECKNING AUTOGRAF HANDSKRIFTER Dolchstoßlegende Kamarilla Machtergreifung . unknown‎

Référence libraire : 0001486

‎Paul ZENKER - (Georges DOEUILLET)‎

‎Hiver approche. Robe de dîners de Doeuillet pl.63 La Gazette du Bon ton 1921 n°8‎

‎Paris: Lucien Vogel éditeur 1921. Fine. Lucien Vogel éditeur Paris 1921 18 x 24 cm 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 2000 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. Lucien Vogel éditeur unknown‎

Référence libraire : 54902

‎Paul ZENKER - Andre-Ferdinand HEROLD‎

‎Nala et Damayanti‎

‎Paris: L'Edition d'art H. Piazza 1927. Fine. L'Edition d'art H. Piazza Paris 1927 15.50 x 20.50 cm broché Edition illustrated with 10 hors-texte color illustrations and orientalist ornamentations by Paul Zenker. Spine and boards marginally sunned as usual. Preface by Alexandre Dumas fils. L'Edition d'art H. Piazza hardcover‎

Référence libraire : 87000

‎Paul, George MacKay & Michael Ierardi (eds.)‎

‎ROMAN COINS AND PUBLIC LIFE UNDER THE EMPIRE E. Togo Salmon Papers II‎

‎0.72 x 9.48 x 6.2 Inches; 216 pages; Roman coins often shed light on Roman public life and society through the legends, portraits, and images they bear. The papers collected in this volume were originally presented at the Second E. Togo Salmon Conference on Roman Studies. The eight contributors are specialists in Roman coins or Roman history and in the relations between them. Coins are a unique source of information about the Roman world. In the case of the Roman Empire they were issued by or with the approval of the ruling power. The representations and legends they show therefore present an official view of contemporary affairs. The coins themselves, minted for official purposes such as paying the army, when studied carefully can help reconstruct official policies. They can also occasionally reveal what monuments now lost may have looked like. It is not infrequent to come across pleas that the ancient historian should make more frequent use of numismatic evidence. These essays make clear that efforts are being made both by numismatists and by historians to bring the two disciplines together. At the same time the papers reveal that the task is by no means a straightforward one. The survival of Roman coins is variable, and so attempts to reconstruct the size and distribution of issues calls for skilled and experienced analysis. This collection of papers provides evidence for the kind of deductions that the historian may make from Roman coins as well as the illustrations of the pitfalls that await the unwary. Those interested in Roman history, amateur coin collectors, and professional numismatists will all find much here to widen their knowledge of the public context of Roman coins. Contributors: William E. Metcalf, P. Bruun, Barbara Levick, R. P. Duncan-Jones, Anthony Barrett, Duncan Fishwick, C. E. King, Andrew Burnett.‎

‎Paul-Adrien SCHAYE‎

‎Gribiche‎

‎Paris: Paul Ollendorff 1912. Fine. Paul Ollendorff Paris s. d. 1912 13 x 19 cm relié First edition one of 5 numbered copies on Holland paper the only deluxe copies. Half mouse-grey morocco binding with corners smooth spine decorated with a gilt cartouche adorned with typographical motifs stamped in blind and gilt fillets brown morocco title label frame of gilt fillets on marbled paper boards marbled endpapers and pastedowns top edge gilt retaining deckled edges covers and spine preserved contemporary binding signed by Capelle. Worming on the first board occasional light foxing affecting the deckled edges of some leaves. Paul Ollendorff hardcover‎

Référence libraire : 59708

‎Paul-Albert LAURENS - (Jose Maria de HEREDIA)‎

‎"Le bain des nymphes"" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Janvier 1898 27 x 35 cm une feuille Rare original lithograph executed by Paul Albert Laurens for L'Estampe Moderne series number 9 published in January 1898. One of 50 deluxe proofs printed on China paper with wide margins artist's signature in the plate publisher's embossed stamp showing a child's profile in the lower margin mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso pale marginal foxing. Lithograph inspired by the poem Les trophées by José-Maria de Heredia. Magnificent French monthly publication issued between May 1897 and April 1899 L'Estampe moderne consists of unpublished chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created specially by each artist for the magazine. Thus 100 prints appeared in total covering the major artistic movements of the late 19th century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F. This print of handsome format is superbly printed on one of the most prestigious papers: China. ""Despite all its qualities China paper too insubstantial owes its reputation not to its own beauty but to its particular affinities with printing ink. Its texture smooth and soft together is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings."" Anatole France. French collectors' interest in artistic posters increased at the beginning of the 1890s. Octave Uzanne to describe this fever invented the term ""poster mania"". The poster originally popular and pasted on the streets of the capital then became an art object and its ephemeral medium became precious and destined for preservation. Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. Handsome copy in the Art Nouveau style. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Référence libraire : 74287

‎Paul-Albert LAURENS - Pierre LOUS‎

‎Suite de six eaux-fortes de Albert Laurens pour Aphrodite de Pierre Louÿs‎

‎Paris: Pierre Duffau 1897. Fine. Pierre Duffau Paris 1897 23 x 32 cm en feuilles First edition one of 40 copies on China ours one of the 10 copies out of business literati with remark and signature of Paul Albert Laurens . Nice copy despite tiny marginal freckles not serious at the head of some leaflets. Pierre Duffau unknown‎

Référence libraire : 65680

‎Paul-Cesar HELLEU - (Alfred LABARRE)‎

‎"Parisienne"" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Décembre 1898 23.50 x 32 cm une feuille Rare original lithograph executed by Paul-César Helleu for L'Estampe Moderne series number 20 published in December 1898. One of 50 deluxe proofs printed on China paper with wide margins artist's signature in the plate publisher's dry stamp representing a child's profile in the lower margin laid down on a sheet of laid paper with the numbered luxury edition stamp on the verso some foxing; engraving preceded by a tissue guard inscribed with the artist's name title and an extract from a work. Lithograph inspired by an extract from Nos parisiennes by Alfred Labarre. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of unpublished chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created specially by each artist for the magazine. Thus 100 prints appeared in total covering the major artistic movements of the end of the 19th century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential printing of very grand luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F. This print of handsome format is superbly printed on one of the most prestigious papers: China paper. ""Despite all its qualities China paper too insubstantial owes its reputation not to its own beauty but rather to its particular affinities with printing ink. Its texture smooth and soft together is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings."" Anatole France. French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne to qualify this fever invented the term ""affichomania."" The poster originally popular and plastered in the streets of the capital then became an art object and its ephemeral medium became precious and devoted to preservation. Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. Handsome copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Référence libraire : 74613

‎Paul-Emile VICTOR‎

‎Boréal‎

‎Paris: Gautier-Languereau 1958. Fine. Gautier-Languereau Paris 1958 17 x 23.50 cm reliure de l'éditeur New edition. Publisher's full blue cloth binding smooth spine complete with its illustrated dust jacket which shows only very slight marginal tears of no consequence. Iconography. Dated and signed autograph inscription from Paul-Emile Victor to one Claude. Gautier-Languereau hardcover‎

Référence libraire : 82405

‎Paul-Emile COLIN - Pierre GUSMAN‎

‎La gravure sur bois en France au XIXe siècle‎

‎Paris: Albert Morancé 1929. Fine. Albert Morancé Paris 1929 22.50 x 28 cm broché First edition one of 55 numbered copies on China paper the only deluxe copies. Work illustrated with 96 hors-texte plates. Handsome copy despite inevitable light foxing inherent to the quality of China paper light traces of adhesive tape at head and foot of endpapers. Our copy as stipulated in the print justification is indeed complete at the end with the 10 additional wood engravings distributed across 8 plates. Albert Morancé unknown‎

Référence libraire : 85388