‎Collectibles‎

‎Pierre MORTIER‎

‎Conversation familière avec le Prince de ligne‎

‎Paris: Fasquelle 1953. Fine. Fasquelle Paris 1953 14.50 x 19.50 cm broché First edition of this speech delivered in Brussels on the occasion of the bicentenary of the birth of the Prince de Ligne one of 15 numbered copies on Holland paper the only deluxe copies. Three small dampstains at foot of front cover and head of back cover some light interior foxing. Fasquelle unknown‎

Referencia librero : 76393

‎Pierre MOURGUE - (LARSEN)‎

‎"La soirée au théâtre"" Smoking et cape ""Priola"" de Larsen pl.57 La Gazette du Bon ton 1922 n°9‎

‎Paris: Lucien Vogel éditeur 1922. Fine. Lucien Vogel éditeur Paris 1922 18 x 24 cm une double page Original color print printed on laid paper signed at the bottom right of the plate. La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists in the full bloom of Art Deco. Famous fashion magazine founded in 1912 by Lucien Vogel La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication these luxurious publications ""addressed bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""La Gazette du bon ton"" in Dictionnaire de la mode 2016. Printed on fine laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique heightened in colors and some outlined in gold or palladium. The adventure began in 1912 when Lucien Vogel a man of society and fashion - he had already participated in the magazine Femina - decided to found with his wife Cosette de Brunhoff sister of Jean the father of Babar the Gazette du bon ton whose subtitle was then ""Art modes et frivolités"". Georges Charensol reports the words of the editor-in-chief: ""In 1910 he observed there existed no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists . I was certain of success because for fashion no country can rival France."" ""Un grand éditeur d'art. Lucien Vogel"" in Les Nouvelles littéraires n°133 May 1925. The success of the magazine was immediate not only in France but also in the United States and South America. Originally Vogel thus brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly joined 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 Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel called upon them would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements. The plates highlighted and sublimated the dresses of seven creators of the time: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless some of the illustrations featured no real model but only the idea that the illustrator had of the fashion of the day. La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic excellence and visual unity it brought together for the first time the great talents of the worlds of arts letters and fashion and imposed through this alchemy a completely new image of woman slender independent and audacious also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Rochas. Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the ""dying little journal"" that Nast had bought several years earlier: Vogue magazine. Before the illustration on the last page of the double sheet text by Caylus ""Le bois dans la mode"". Lucien Vogel éditeur unknown‎

Referencia librero : 84825

‎Pierre MOURGUE - (Gustave BEER)‎

‎Bouquet de violettes. Manteau du soir de Beer pl.69 La Gazette du Bon ton 1921 n°9‎

‎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

Referencia librero : 54925

‎Pierre MOURGUE - (RODIER)‎

‎La Petite Mademoiselle. Tailleur XVIIe en perllaine de Rodier pl.1 La Gazette du Bon ton 1922 n°1‎

‎Paris: Lucien Vogel éditeur 1922. Fine. Lucien Vogel éditeur Paris 1922 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

Referencia librero : 54950

‎Pierre MOURGUE‎

‎La Promenade au Palais-Royal. Redingote ""Directoire"" pl.18 La Gazette du Bon ton 1921 n°3‎

‎Paris: Lucien Vogel éditeur 1921. Fine. Lucien Vogel éditeur Paris 1921 18 x 24 cm une feuille Original color print heightened with palladium 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

Referencia librero : 54854

‎Pierre MOURGUE‎

‎La Visite à l'Ermitage. Cape en ruban pl.49 La Gazette du Bon ton 1921 n°7‎

‎Paris: Lucien Vogel éditeur 1921. Fine. Lucien Vogel éditeur Paris 1921 18 x 24 cm une feuille original print in color printed on laid paper signed lower right of the board. The Gazette has good taste one of the finest and most influential twentieth century fashion magazines celebrating the talent of creators and artists French burgeoning art deco. Famous fashion magazine founded in 1912 by Lucien Vogel The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920 due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication these luxury publications ""are for bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""good Gazette of tone"" in the fashion dictionary 2016. Printed on fine laid paper they use a typeface created specifically for the magazine by Georges Peignot the Cochin character taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil enhanced color and some outlined in gold or palladium. The adventure began in 1912 when Lucien Vogel man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff John's sister the father of Babar Gazette good tone in which the subtitle is then ""Art fashions and frivolities."" Georges Charensol quotes the editor: ""In 1910 he observed there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists . I was certain of success because no country for fashion can compete with France. """" A great art editor. Lucien Vogel ""in Literary News No. 133 May 1925. The success of the magazine is immediate not only in France but also the US and South America. Originally Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux Léon Bakst Benito Boutet de Monvel Umberto Brunelleschi Chas Laborde Jean-Gabriel Domergue Raoul Dufy Edward Halouze Alexander Iacovleff Jean Emile Laboureur Charles Loupot Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel appealed to them will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette. The boards highlight the dresses and sublime seven artists of the time: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless some of Illustrations contained no real model but only the idea that the illustrator is done in the fashion of the day. Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit it brings together for the first time the great talents of the world of arts literature and fashion and imposed by this alchemy a new image of women slender independent and bold also driven by the new generation of designers Coco Chanel Jean Patou Rochas Marcel . Recovery in 1920 by Condé Montrose Nast Gazette fashionable modeled for the new composition and the aesthetic choices of the ""little dying newspaper"" that Nast had bought a few years ago: the Vogue magazine. Lucien Vogel éditeur hardcover‎

Referencia librero : 57579

‎Pierre MOURGUE - (RODIER)‎

‎Les Courses ou Gagneront-ils Robe d'après-midi en ""carrés roumécla"" de Rodier pl.48 La Gazette du Bon ton 1924 n°9‎

‎Paris: Lucien Vogel éditeur 1924. Fine. Lucien Vogel éditeur Paris 1924 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

Referencia librero : 55094

‎Pierre MOURGUE - (MARTIAL & ARMAND)‎

‎Soir de Paris. Robe du soir de Martial et Armand pl.5 La Gazette du Bon ton 1922 n°1‎

‎Paris: Lucien Vogel éditeur 1922. Fine. Lucien Vogel éditeur Paris 1922 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

Referencia librero : 54954

‎Pierre MOUILLEFERT‎

‎Traité des arbres et des arbrisseaux forestiers industriels et d'ornement cultivés ou exploités en Europe et plus particulièrement en France donnant la description et l'utilisation de plus de 2400 espèces et 2000 variétés‎

‎Paris: Paul Klincksieck 1892. Fine. Paul Klincksieck Paris 1892-1898 15.50 x 23 cm 2 volumes brochés & 1 en feuilles sous chemise First edition. First text volume: ranunculaceae to leguminosae Second text volume: terebinthaceae to gramineae. Spines sunned spine of the second volume cracked and with two tears at foot. Our set is complete with its atlas presented in loose sheets under chemises with flaps which contains 195 plates including 40 hand-colored 144 phototypes of tree habits and 11 elements of tree botany. Handsome and very rare set. Paul Klincksieck unknown‎

Referencia librero : 37463

‎Pierre MOURGUE - (TECLA) - Jeanne LANVIN‎

‎Un collier Técla Publicité Volume 1 La Gazette du Bon ton 1920 n°2 suivi de Robes du soir de Jeanne Lanvin‎

‎Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris 1920 18 x 24 cm une feuille original print in color printed on laid paper signed lower right of the board. advertising board for Jeanne Lanvin dresses overleaf. Trained at the School of Fine Arts in the studio of Fernand Cormon André Édouard Marty works in the Gazette du Bon tone from the start of the review; it is then known for his elegant style in which often stand a whimsical or humorous touch. In a decidedly Art Deco inspiration he draws Poiret dresses alongside Lepape but also those of Lanvin or to Doeuillet. This is particularly illustrating the dresses of the latter trait that reveals a multifaceted: fun in silent my heart . where a young Cupid aims his arrow of a young woman falsely frightened!. The Taste bucolic in the garden where little girls dresses with carefully placed serve their mother dressed in a stylish dress. Melancholic perhaps in The Secret pretty where we see two girls shyly confide any thought. Like his colleagues in the Gazette Marty also works with other fashion magazines such as Vogue and Harper's Bazaar yet two competing magazines for which he will be one of the few illustrators to work on it together. In parallel fashion illustrations Marty also designs scenes for literary works such mythological scenes Henry Regnier or The Songs of Bilitis by Pierre Louÿs in 1937. The eclecticism of his style reached its peak in 1943 when he realizes a cartoon Callisto little nymph of Diana ""setting in motion ultimate feminine silhouettes that he composed for the Gazette. Original content produced for the illustration of The Gazette fashionable one of the finest and most influential twentieth century fashion magazines celebrating the talent of creators and artists French burgeoning art deco. Famous fashion magazine founded in 1912 by Lucien Vogel The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920 due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication these luxury publications ""are for bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""good Gazette of tone"" in the fashion dictionary 2016. Printed on fine laid paper they use a typeface created specifically for the magazine by Georges Peignot the Cochin character taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil enhanced color and some outlined in gold or palladium. The adventure began in 1912 when Lucien Vogel man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff John's sister the father of Babar Gazette good tone in which the subtitle is then ""Art fashions and frivolities."" Georges Charensol quotes the editor: ""In 1910 he observed there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists . I was certain of success because for any fashion country can compete with France. """" A great art editor. Lucien Vogel ""in literary News No. 133 May 1925. The success of the magazine is immediate not only in France but also the US and South America. Originally Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux Léon Bakst Benito Boutet de Monvel Umberto Brunelleschi Chas Laborde Jean-Gabriel Domergue Raoul Dufy Edward Halouze Alexander Iacovleff Jean Emile Laboureur Charles Loupot Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel appealed to them will eventually become iconic figures and artist Lucien Vogel éditeur unknown‎

Referencia librero : 55372

‎Pierre NAVILLE‎

‎Les reines de la main gauche‎

‎Alençon: Imprimerie Alençonnaise 1924. Fine. Imprimerie Alençonnaise Alençon 1924 13.50 x 18.50 cm agrafé First edition of petit nombre. Rare handsome inscription dated September 1924 and signed by Pierre Naville to Raymond Queneau. Spine and covers slightly and marginally sunned as usual. Imprimerie Alençonnaise unknown‎

Referencia librero : 48294

‎Pierre NERON - Estienne GIRARD‎

‎Les edicts et ordonnances des tres-chrestien roys François I. Henri II. François II. Charles IX. Henry III. Henri IV. Louis XIII. et Louis XIV. sur le faict de la justice & abreuiation des procez. Avec annotations apostilles & conferences sous chacun article‎

‎à Paris: Chez Edme Pépingué 1656. Fine. Chez Edme Pépingué à Paris 1656 24 x 36 cm In-folio relié New edition. Imprint for this new edition completed on December 1st 1655. Very worn contemporary full brown sheep binding. Spine with raised bands decorated with grotesques leafy designs dots and fleur-de-lys. Brown sheep title label. Headcaps torn with large lacks to first and last compartments. Joints cracked at head and foot with leather lacks. Corners cut and worn bare. Overall very rubbed. First text leaf with browning some following leaves affected. Foxing to index. Lacks lower right corner of page 1043. 19th-century armorial bookplate of Bellaigne de Bughas. Continuously reprinted and augmented since 1620 the Néron et Girard enjoyed lasting success until the 18th century. The collection classifies royal laws for the first time in chronological order and its usability is enhanced by an extensive table of contents. Dictionnaire historique des juristes français 2007 p. 588. Chez Edme Pépingué hardcover‎

Referencia librero : 68135

‎Pierre NORD‎

‎Bombe à l'O.T.A.N.‎

‎Paris: Arthème Fayard 1959. Fine. Arthème Fayard Paris 1959 12 x 19 cm broché First edition printed on ordinary paper. A scratch on the first cover. Signed and inscribed by Pierre Nord to Madame Michel Parisot: "". ce plan roman américain avant la lettre il est vrai que le romanétait écrit avant"" "". this American novel plan before the letter it is true that the novel was written before"". Arthème Fayard unknown‎

Referencia librero : 76245

‎Pierre OKOKO‎

‎La guerre civile dans la poésie espagnole contemporaine 1936-1956‎

‎Paris: Université de Paris-Sorbonne 1983. Fine. Université de Paris-Sorbonne Paris 1983 21 x 29.50 cm broché First edition of this thesis defended in November to obtain the degree of third-cycle doctor. Rare and handsome copy. Université de Paris-Sorbonne unknown‎

Referencia librero : 39363

‎Pierre OSTER‎

‎Les dieux‎

‎Paris: Gallimard 1970. Fine. Gallimard Paris 1970 14.50 x 21.50 cm broché First edition one of 25 numbered copies on wove paper deluxe copy. Two bookplates pasted on an endpaper. Handsome copy. Gallimard unknown‎

Referencia librero : 83734

‎Pierre PARAF‎

‎Israël 1931‎

‎Paris: Librairie Valois 1931. Fine. Librairie Valois Paris 1931 12 x 19 cm broché First edition an advance service de presse copy. Autograph inscription from Pierre Paraf to Pierre Dominique Librairie Valois unknown‎

Referencia librero : 56410

‎Pierre PARAF‎

‎Vies quotidiennes contemporaines en Israël‎

‎Paris: Hachette 1971. Fine. Hachette Paris 1971 13 x 20 cm broché The first edition of which there were no deluxe copies. Signed autograph inscription by Pierre Paraf: ""A mes amis Les Etudiants Juifs de France en cordial et dévoué hommage. Pierre Paraf."" ""To my friends the Jewish Students of France with cordial and devoted homage. Pierre Paraf."" Provenance: from the library of the Jewish Students of France with the printed stamp on the verso of the first cover. Hachette unknown‎

Referencia librero : 77085

‎Pierre PASCAL - Maxime REAL DEL SARTE‎

‎Odes liturgique à Paris citadelle des justes arche de paix capitale du roy aimé‎

‎Paris: Editions du trident 1937. Fine. Editions du trident Paris 1937 19.50 x 28.50 cm broché First edition one of 47 numbered copies on laid ""pur-fil"" paper ours one of 12 with the names of the 12 months of the year this copy ""October"" specially numbered and justified by Pierre Pascal for the doctor of Reilhan Carnas. Back slightly insolated partially guarded and slightly shaded. Illustrated book with a frontispiece by Maxime Real del Sarte engraved by Pierre Pascal. Signed autograph of Pierre Pascal to the doctor of Reilhan de Carnas: "". this Greek liturgy under the sign of the Principle and the most courageous man in France."" Editions du trident unknown‎

Referencia librero : 62174

‎Pierre PETIT‎

‎Photographie d'Alexandre Dumas‎

‎Paris 1860. Fine. Paris 1860 6.10 x 10.50 cm une photographie Original albumen photograph mounted on card by Pierre Petit showing Alexandre Dumas in medallion format mustachioed at about 60 years of age. Deep blacks and fine contrast. Photograph mounted on heavy paper. Very fine condition. On verso the author's name in manuscript and a stamp: Paris. Besançon. Pierre Petit. Photographe. 31 Place Cadet. Paris. It was in 1858 that Pierre Petit established his photographic studio at Place Cadet and the following year he began his gallery of famous men of the era. The portrait of Alexandre Dumas certainly forms part of this series. unknown‎

Referencia librero : 71702

‎Pierre PEUCHMAURD‎

‎L'entretien des haies‎

‎Paris: Editions Maintenant 1973. Fine. Editions Maintenant Paris 1973 10.50 x 15 cm en feuilles First edition one of 75 numbered copies on Ingres only leading copies. Nice and rare copy. Handwritten signature of Pierre Peuchmaurd to the colophon. . Editions Maintenant unknown‎

Referencia librero : 61990

‎Pierre PONTRAMIER - Claude AVELINE - Jules Leon PERRICHON‎

‎J.-L. Perrichon‎

‎Paris: Henry Babou 1933. Fine. Henry Babou Paris 1933 20.50 x 26.50 cm en feuilles First edition one of 750 numbered copies on white laid paper the only deluxe copies after 50 Japan and 50 hors commerce. Work decorated with a self-portrait of the artist as well as illustrations hors-texte letter-preface by Claude Aveline. Endpapers lightly shadowed. Henry Babou unknown‎

Referencia librero : 58330

‎Pierre PUTTEMANS‎

‎A chaque seconde‎

‎s. l.: S. n. 1959. Fine. S. n. s. l. s. d. 1959 17 x 13 cm broché First edition one of 300 numbered copies the only issue with 10 deluxe copies. Precious dated autograph inscription signed by Pierre Puttemans to Roger Caillois "". en respectueux hommage."" Covers slightly and marginally sunned handsome interior condition. S. n. unknown‎

Referencia librero : 46384

‎Pierre PUVIS DE CHAVANNES - Armand DAYOT‎

‎"L'espérance"" - Lithographie originale sur Japon - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Avril 1898 20.30 x 27 cm une feuille et une serpente Rare original lithograph in crayon manner executed by Pierre Puvis de Chavannes for L’Estampe Moderne dated 1 August 1869 from series no. 12 issued in April 1898. One of 50 deluxe proofs printed on japon paper with wide margins on vellum laid down on japon paper signed and dated in the plate with the publisher’s blindstamp of a child’s profile in the lower margin and numbered stamp of the deluxe issue on verso. A faint dark stain to one corner with slight offsetting of the preceding plate. Preceded by a tissue guard bearing the artist’s name title an excerpt of text and a short presentation of the engraving; with an additional blank tissue guard. Lithograph inspired by an excerpt from Armand Dayot reproduced on the tissue guard of the print. Magnificent French monthly publication issued between May 1897 and April 1899 L’Estampe Moderne consists of original chromolithographs which unlike other journals such as Les Maîtres de l’Affiche and as stated on the tissue guards were created expressly for the magazine by each artist. A total of 100 prints were issued reflecting the major artistic movements of the late 19th century: Symbolism Art Nouveau the Pre-Raphaelites Orientalism and the Belle Époque. Each instalment of four prints was published in 2000 copies priced at 3.50 francs with 100 on japon paper offered at 10 francs. Henri Piazza also planned an extremely limited de luxe printing: 50 copies on large-margined japon and 50 in black on china paper at the considerable price of 30 francs. This large-format plate is superbly printed on the most prestigious of papers: japon. Thick silky satiny and pearly it makes each sheet a work in its own right. Its ink absorption and affinity with colour also make it the ideal support for these magnificent lithographs. French collectors’ enthusiasm for artistic posters increased in the early 1890s. Octave Uzanne to describe this fervour coined the term affichomanie. The poster originally popular and pasted in the streets of Paris was elevated to the status of art object its ephemeral medium transformed into something precious and destined for preservation. Piazza’s ambition was to detach the poster from its advertising function and raise it to the rank of an art form in its own right on a par with the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most celebrated European artists of the day: Georges de Feure Eugène Grasset Henri Detouche Émile 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 and others. A fine example in the artist’s Symbolist manner. Imprimerie Champenoispour CH. MassonH. Piazza hardcover‎

Referencia librero : 74379

‎Pierre PUVIS DE CHAVANNES‎

‎Autograph letter signed to engraver Emile Boilvin‎

‎Paris 1895. Fine. Paris 16 mars 1895 11.10 x 14 cm une feuille Autograph letter card signed by the painter Pierre Puvis de Chavannes to the engraver Emile Boilvin. The painter addresses a resigning member of the Société nationale des beaux-arts which Puvis de Chavannes had founded and was in charge of the Salon du Champ de Mars a dissident event from the official Salon des artistes français: ""Cher Monsieur Boilvin c'est avec le plus vif regret que je vous vois vous séparer d'une société où vous ne comptiez que des admirateurs et des amis. Qu'il soit fait selon votre désir mais encore une fois votre démission nous cause à tous un réel chagrin. Cordialement P. Puvis de Chavannes"" ""Dear Mr. Boilvin it is with the deepest regret that I see you parting from a society where you had only admirers and friends. Let it be as you wish but once again your resignation causes us all genuine sorrow. Sincerely P. Puvis de Chavannes"" unknown‎

Referencia librero : 71463

‎Pierre PUVIS DE CHAVANNES‎

‎Empathique lettre autographe signée adressée à un ami affecté par une pénible nouvelle‎

‎Paris 1895. Fine. Paris s. d. ca 1895 11.50 x 18 cm une feuille Autograph letter signed by the painter Pierre Puvis de Chavannes 12 lines in black ink. The painter sympathizes with his friend's sadness overwhelmed by an unfortunate event: "". je vous plains de tout mon coeur car j'ai toujours entendu dire que ces heures là étaient très douloureuses."" I feel for you with all my heart as I have always heard that such times are very painful even though he hopes to meet him soon: "". c'est entendu pour samedi au lieu de vendredi - prévenez Durand."" it is agreed for Saturday instead of Friday - let Durand know unknown‎

Referencia librero : 86541