‎Collectibles‎

‎Alphonse ALLAIS‎

‎Billet autographe signé‎

‎1880. Fine. s. d. circa 1880 11.60 x 14.20 cm un billet Autograph letter signed by Alphonse Allais mounted on fine cardboard. Traces of transverse folds small lacks and marginal tears. ""Espèce de sagouin. / Entendu pour samedi. / Prends moi au Gil Blas vers 6h / Mille cordiaux respects à ta dame. A.A."" ""You rascal. / Agreed for Saturday. / Pick me up at Gil Blas around 6pm / A thousand cordial respects to your lady. A.A."" unknown‎

Référence libraire : 75685

‎Charles DICKENS‎

‎Le fantôme de feu James Barber et autres nouvelles inédites en français‎

‎Paris: Editions M.P. Trémois 1930. Fine. Editions M.P. Trémois Paris 1930 12 x 19 cm broché First French edition one of the few named copies on Japan paper the recipient's name having been neatly erased. Spine and covers slightly and marginally lightened a small tear at the foot of the spine. Editions M.P. Trémois unknown‎

Référence libraire : 75288

‎Victor HUGO‎

‎Lucrèce Borgia‎

‎Paris: Calmann Lévy 1881. Fine. Calmann Lévy Paris 1881 14 x 19.50 cm relié New edition one of 40 numbered copies on Whatman the only deluxe copies announced. Half red morocco binding spine with five raised bands date at foot marbled paper boards marbled endpapers and pastedowns original wrappers preserved top edge gilt on deckled edges binding signed by P. Goy & C. Vilaine. Precious signed autograph inscription from Victor Hugo: ""A mon cher Théodore de Banville. Victor Hugo."" ""To my dear Théodore de Banville. Victor Hugo."" Precious inscription from the master to one of the pillars of the Parnassian school. Calmann Lévy hardcover‎

Référence libraire : 75902

‎Alfons MUCHA‎

‎Couverture de L'Estampe Moderne n°22 février 1899 • Cover of L'Estampe Moderne n22 February 1899‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1899. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Février 1899 41 x 56 cm une feuille Cover of L'Estampe Moderne n°22 February 1899 L'Estampe Moderne Imprimerie Champenois pour CH. Masson & H.Piazza Paris February 1899 41 x 56 cm one leaf Original large margin print in black and white serving as the cover of the famous monthly publication Estampe Moderne. Entirely printed in black and white our print is the cover of the rare collection in a large-margin luxury print of the first year of publication. Artist's signature on the board and number of the luxury print added in pencil. A magnificent monthly French publication published between May 1897 and April 1899 L'Estampe moderne comprised unpublished chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as is stipulated on the protective tissue were specially made for the magazine by each artist. There are thus 100 prints that appeared in total covering the major artistic movements of the late 19th century: Symbolism Art Nouveau the Pre-Raphaelites Orientalism and the Belle Epoque. Each delivery of four prints was printed with 2000 copies and sold for 3.50F with 100 on Japan offered for 10F. Henri Piazza also planned a high-luxury confidential print: 50 copies with wide margins on Japan and 50 in black and white at the considerable price of 30F. French collector's interest in artistic posters grew from the beginning of the 1890s. Octave Uzanne invented the term “affichomanie” “poster-mania” for this growing interest. The poster originally common-place and plastered across the streets of the capital then became an object of art and its ephemeral medium precious and dedicated to conservation. Piazza decided to remove the poster from its advertising role and elevate it to the rank of a work of art in its own right in the same way as the luxury illustrated book. Thus he composed a prestigious collection of entirely original works by the most well-known European artists of the time: 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. The publisher also included in his project a Czech artist newly arrived in Paris Alfons Mucha “qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches que tout le monde connaît et recherche il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur de décorateur et de coloriste.” “who has recently emerged in France and who has straightaway conquered a significant place in the public's favour. As in his posters that everyone knows and desires he shows us here the varied resources of his multiple and sure talent as an artist decorator and colourist.” caption printed on the Salomé protective tissue. Incidentally it is also to him that the first premium of the magazine will be entrusted offered “à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne” “to all the subscriber of the twelve annual deliveries of L'Estampe moderne” as well as the famous illustration of the covers. A very beautiful copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Référence libraire : 74814

‎Georges BERNANOS - COLLECTIF‎

‎"J'ai mené une vie de chien"". In Esprit N°12 de la 17ème année‎

‎Paris: Esprit 1948. Fine. Esprit Paris Décembre 1948 14.50 x 22.50 cm broché First edition of this issue of the important humanist review founded by Emmanuel Mounier one of 50 numbered copies on alma du Marais paper the only deluxe copies. This issue is partly devoted to Georges Bernanos who had died five months earlier with Albert Béguin ""Bernanos n'appartient à personne"" Georges Bernanos ""J'ai mené une vie de chien"" Bertanrd d'Astorg ""Mort au champ de son honneur"". Other contributions by Paul Ricoeur ""Dimension d'une recherche commune"" Marius Gandilhon ""Derrière le silence de l'Espagne"" Jacques Ayencourt ""Ils ont voté Roosevelt"". Occasional foxing mainly marginal. Esprit unknown‎

Référence libraire : 75504

‎L LACOSTE - Henri DUVERNOIS‎

‎Morte la bête • Kill the Beast‎

‎Paris: L'Edition d'art H. Piazza 1921. Fine. L'Edition d'art H. Piazza Paris 1921 19 x 25.50 cm relié sous étui Edition illustrated with 30 original watercolours in and out of text by L. Lacoste coloured by Saudé one of 5 numbered copies on Japon impérial paper deluxe copy. Full red morocco binding spine slightly darkened with four raised bands set with black fillets and decorated with double black compartments and a fawn mosaic morocco border black roulettes on headcaps frame on covers with green mosaic morocco border and quintuple black fillets red watered silk endpapers and pastedowns frame of two green mosaic morocco borders on pastedowns following endpapers of marbled paper double black fillets on leading edges covers and spine preserved all edges gilt red morocco-edged slipcase moiré effect paper boards beige felt interior superb mosaic binding of the period signed Blanchetière. Our copy contains a duplicate suite of out-of-text watercolours at the end of the volume as well as two original watercolours by L. Lacoste framing the title page. Very fine copy perfectly executed in a full mosaic morocco binding by Blanchetière enhanced with two original watercolours by L. Lacoste. L'Edition d'art H. Piazza hardcover‎

Référence libraire : 75142

‎Raoul UBAC - Julius BALTAZAR - Andre MARFAING‎

‎L'étoile des encres‎

‎Paris: André Biren 1982. Fine. André Biren Paris 1982 22.50 x 25.50 cm en feuilles sous chemise et étui First edition printed in 87 numbered copies on Lafuma de Voiron vellum. The work is illustrated with 4 original etchings by Julius Baltazar Cesare Peverelli Augustin Cardenas and André Marfaing as well as an original linocut by Raoul Ubac each of the five works being signed by the artist. At the colophon manuscript signatures in pencil by the author and the five artists. Autograph inscription signed by Michel Butor in pencil to a friend named Michel on an endpaper. André Biren hardcover‎

Référence libraire : 75536

‎Elsa TRIOLET‎

‎L'âme‎

‎Paris: Gallimard 1963. Fine. Gallimard Paris 1963 12 x 18.50 cm broché First edition a Service de Presse advance copy. Handsome copy. Precious autograph inscription signed by Elsa Triolet to Maurice Druon: ""A Maurice en courant après l'âme. Elsa."" ""To Maurice running after the soul. Elsa."" Provenance: from the library of academician Maurice Druon. Gallimard unknown‎

Référence libraire : 75554

‎Henri BERAUD‎

‎Retours à pied. Impressions de théâtre 1921-1924‎

‎Paris: Plon 1925. Fine. Plon Paris 1925 13.50 x 19.50 cm broché First edition one of 25 numbered copies on laid paper Lafuma the only deluxe copies. Handsome copy retaining its deckled edges. Plon unknown‎

Référence libraire : 75429

‎Jean MOREAS‎

‎Le pèlerin passionné‎

‎Paris: Léon Vanier 1893. Fine. Léon Vanier Paris 1893 13.50 x 19 cm broché Edition with some parts in first edition expanded with new poems one of 25 numbered copies on Japan paper justified by Léon Vanier the only deluxe copies. Spine lightly browned with a small lack at head. A full-margined copy. Léon Vanier unknown‎

Référence libraire : 75042

‎Sandra CALDER‎

‎Carte postale autographe signée adressée à Juan Luis Buñuel ; ""La paix ! la paix ! la paix !"" • Handwritten signed postcard addressed to Juan Luis Bunuel‎

‎1967. Fine. s. d. ca 1967 15.70 x 10.80 cm une carte postale Handwritten signed postcard addressed to Juan Luis Buñuel s.dca 1967 15.7 x 10.8 cm a postcard Handwritten postcard signed by Alexander Calder addressed to Juan Luis Buñuel on the back of a reproduction of a painting by Georges de La Tour. Two small perforations in the left margin of the card as is usual in Juan Luis Buñuel's collection. ""La paix ! la paix ! la paix ! pour 1968 Vanvis - I don't understand why I'm always leaving messages and never getting an answer. I was sorry not to see you in Barcelone. It is a beautiful snow. Love to you and Carmen and children. Sandro"" In 1939 Luis Buñuel who had just received an offer to work in Hollywood decided with his wife and child to leave the chaotic situation in Europe to go and live the American Dream. The penniless Buñuels initially spent a few precarious months living in New York. Luis Buñuel found himself forced to ask Dali—his longstanding friend in exile along with Gala during these years—to lend him some money. His request was refused in no uncertain terms putting an end to the two men's friendship. Thus it was Calder whom Luis had perhaps already met in Paris in the 1920s who put the whole family up in his Upper Side apartment. Juan Luis Buñuel the artist's godson sensed that his interest in sculpture began in this same period: “When Dali told my father he would not lend him any money he contacted him Calder. He offered his house to us and we lived with his family for a time. I can only vaguely remember it but it was then that I started to become interested in sculpture and he encouraged me” Anton Casto Juan Luis una entrevista. Despite the geographical distance that would come to separate them Alexander Calder would remain a friend of the Buñuel family. The relationship between the artist and the film-maker is however almost entirely absent from the biographies and this correspondence is a rare testimony to the profound connection between the sculptor and the Buñuel family. unknown‎

Référence libraire : 75789

‎Elie WIESEL‎

‎Les juges‎

‎Paris: Seuil 1999. Fine. Seuil Paris 1999 14 x 20.50 cm broché The first edition of which there were no deluxe copies. Handsome copy. Autograph inscription signed by Elie Wiesel to a woman named Caroline. Seuil unknown‎

Référence libraire : 74780

‎Honore DAUMIER‎

‎Lithographie originale en noir et blanc - Les amis - ""Un ami est un crocodile donné par la civilisation""‎

‎Paris: Chez Aubert 1845. Fine. Chez Aubert Paris s. d. 1845 27.30 x 35.60 cm une feuille Original black and white lithograph second state for Le Charivari printed on heavy paper. Signed on the plate. Delteil 593 Monogrammed stamp ""AB"" from the collection of Dr Albert Bloch on the verso of the plate. Good condition. Chez Aubert unknown‎

Référence libraire : 74753

‎Victor HUGO‎

‎Réponse de M. Victor Hugo au discours de M. Saint-Marc Girardin prononcé dans la séance du 16 janvier 1845‎

‎Paris: Typographie de Firmin Didot frères 1845. Fine. Typographie de Firmin Didot frères Paris 1845 20.50 x 27 cm relié First edition. Signed autograph inscription from Victor Hugo to Mélanie Foucher: ""A Madame Victor Foucher Hommages V."" ""To Madame Victor Foucher Respects V."" Bradel binding in full pebbled paper smooth spine decorated with a burgundy morocco label title lengthwise binding signed Thomas Boichot. Some very minor worming. Handsome copy. Typographie de Firmin Didot frères unknown‎

Référence libraire : 75953

‎Roland GARROS - (to Jacques MORTANE)‎

‎Lettre autographe signée adressée à son ""vieux Toto"" Jacques Mortane • Autograph letter signed addressed to his “old Toto” Jacques Mortane‎

‎Mannheim: s. n. 1914. Fine. Roland Garros comes to the aid of aviators' widows and orphans s. n. Mannheim s. d. juin 1914 22.20 x 28.80 cm une page sur un feuillet Autograph letter signed by Roland Garros addressed to his ""vieux Toto"" Jacques Mortane written in black ink on Parkhotel Mannheim letterhead. Horizontal folds from mailing a few marginal tears without loss. A rare and attractive letter in which the aviator refers to ""Le Groupe"" and the ""Jour des Aviateurs"" at Juvisy: ""Faites l'impossible dans l'intérêt très important du groupe je vous expliquerai pourquoi jeudi à Paris pour faire passer en bonne place dans Excelsior l'article inclus intégralement."" Mortane successfully managed to transmit the article which was published in the 14 June 1914 issue under the title ""Le Gala des Aviateurs - La fête aérienne d'aujourd'hui à Juvisy."" It was Roland Garros who initiated the association with Jacques Mortane serving as secretary general which he named ""Le Groupe."" Bringing together around fifteen aviation celebrities its purpose included supporting the widows and orphans of fellow aviators who had perished in pursuit of their passion. The ""Journée des aviateurs"" was the first charitable event organized by ""Le Groupe"" and as this letter testifies held great significance for Garros: ""C'est très très important pour nous."" The letters and signatures of the most famous of aviators who died at only twenty-nine are rare and much sought after. s. n. unknown‎

Référence libraire : 75402

‎Boris VIAN‎

‎Manuscrit autographe complet de la chanson de Boris Vian intitulée ""Bientôt""‎

‎s. l.: S. n. 1958. Fine. S. n. s. l. 1958-1959 21 x 27 cm un feuillet perforé Complete autograph manuscript on one perforated leaf of 34 lines written in pencil for the song entitled ""Bientôt"" with one correction and conforming to the final text of the song. We include on a perforated leaf the complete typescript of the song. Handsome ensemble of this song composed between 1958 and 1959 and which was performed by Jane Birkin in 2009. Provenance: Boris Vian Foundation. S. n. unknown‎

Référence libraire : 74367

‎Robert BRASILLACH‎

‎Animateurs de théâtre‎

‎Paris: Editions Corrêa 1936. Fine. Editions Corrêa Paris 1936 12 x 19 cm broché First edition a Service de Presse advance copy. Spine lightly sunned as is often the case tiny worming of no consequence to the boards. Autograph inscription signed by Robert Brasillach: ""A Michel Dard ces portraits qui sont au fond des mémoires."" ""To Michel Dard these portraits which are at heart memoirs."" Editions Corrêa hardcover‎

Référence libraire : 74968

‎Georges LE BAYON - Jacques JOSSE‎

‎Un jour plus d'autres‎

‎Paris: Editions Hôtel Continental 1987. Fine. Editions Hôtel Continental Paris 1987 12.50 x 16 cm en feuilles First edition one of 30 numbered copies on pure Lana paper deluxe copies. A handsome and rare copy. Our copy is complete like the 30 deluxe copies with the original engraving by Georges Le Bayon which he signed and numbered in pencil. Editions Hôtel Continental unknown‎

Référence libraire : 74471

‎Francois AUGIERAS‎

‎Une adolescence au temps du Maréchal et de multiples aventures‎

‎Paris: Christian Bourgois 1968. Fine. Christian Bourgois Paris 1968 12.50 x 20 cm relié sous étui The first edition of which there were no deluxe copies. Bradel binding in full wood-effect paper smooth spine author's name and title lettered in orange and vertically in the center of the front board inlaid a photographic portrait covers and spine preserved slipcase bordered with the same wood-effect paper brown paper boards original contemporary binding signed Leroux. Handsome copy pleasantly executed by one of the last great masters of French twentieth-century bookbinding.  Christian Bourgois hardcover‎

Référence libraire : 75465

‎Henri GUINIER - (Anatole LE BRAZ)‎

‎"Nuit douce"" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1899. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Janvier 1899 24.50 x 30 cm une feuille Rare original lithograph executed by Henri Guinier for L'Estampe Moderne series number 21 published in January 1899. 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 mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso some foxing. Lithograph inspired by a song from Chansons de Bretagne by Anatole Le Braz. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of original chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created especially 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 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 in a handsome format is superbly printed on one of the most prestigious papers: China paper. ""Despite all its qualities China paper too inconsistent owes its reputation not to its own beauty but indeed to its particular affinities with printing ink. Its texture smooth and soft together is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings."" Anatole France. French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne to describe this fever invented the term ""affichomanie"". The poster originally popular and displayed in 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 vocation 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. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Référence libraire : 74620

‎Louise BRESLAU - (Victor HUGO)‎

‎"Fillette à l'orange"" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Octobre 1898 24 x 33 cm une feuille Rare original lithograph executed by Louise Breslau for L'Estampe Moderne series number 18 published in October 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 lower margin mounted on a sheet of laid paper with the numbered stamp of the deluxe issue on verso pale marginal foxing. Lithograph inspired by three stanzas of a poem by Victor Hugo. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of original chromolithographs which unlike other reviews such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created specifically by each artist for the review. 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 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 deluxe issue: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F. This print in a beautiful format is superbly printed on one of the most prestigious papers: China paper. ""Despite all its qualities China paper too inconsistent owes its reputation not to its own beauty but rather to its particular affinities with printing ink. Its texture smooth and soft at the same time is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings."" Anatole France. French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne to qualify this fever invented the term ""affichomanie."" The poster originally popular and pasted in 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 illustrated deluxe 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. Fine copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Référence libraire : 74591

‎Honore DAUMIER‎

‎Lithographie originale en noir et blanc - Les Gens de Justice - "".et parlant à sa portière ainsi déclarée""‎

‎Paris: Chez Aubert 1845. Fine. Chez Aubert Paris s. d. 1845 24.60 x 33.50 cm une feuille Original black and white lithograph second state created for Le Charivari and printed on heavy paper. Signed on plate. Delteil 1857 Some foxing to the left margin. Chez Aubert unknown‎

Référence libraire : 74676

‎Guy-Pierre FAUCONNET - (William SHAKESPEARE) - Jean COCTEAU‎

‎Maquettes de costumes dessinées par Fauconnet pour le Conte d'hiver de Shakespeare représenté au Théâtre du Vieux-Colombier Croquis de mode La Gazette du Bon ton 1920 n°2 • Costume designs by Fauconnet for Shakespeare's The Winter’s Tale staged at the Théâtre du Vieux-Colombier Fashion Sketches La Gazette du Bon Ton 1920 no. 2‎

‎Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris 1920 18 x 24 cm relié Set of eight original color engravings printed on laid paper and signed at the lower right and left of the plates. The plates are introduced by a text signed by Jean Cocteau and depict costumes for Shakespeare’s play two Shepherdesses Paulina and Time. Bradel binding in full decorative paper smooth spine brown shagreen title-piece binding signed by Goy & Vilaine. Original engravings created for the illustration of La Gazette du bon ton one of the most beautiful and influential fashion magazines of the twentieth century celebrating the talent of French designers and artists at the height of the Art Deco movement. A celebrated fashion periodical founded in 1912 by Lucien Vogel La Gazette du bon ton appeared until 1925 with an interruption between 1915 and 1920 due to the mobilization of its editor-in-chief. It comprises 69 issues printed in only 2000 copies and is illustrated with 573 color plates and 148 sketches depicting designs by leading couturiers. From the outset these luxurious publications were addressed “to bibliophiles and worldly aesthetes” Françoise Tétart-Vittu “La Gazette du bon ton” in Dictionnaire de la mode 2016. Printed on fine laid paper they employed a typeface specially created for the review by Georges Peignot the Cochin type later revived by Christian Dior in 1946. The engravings were produced using the pochoir technique hand-colored and in some cases heightened with gold or palladium. The venture began in 1912 when Lucien Vogel a man of fashion and society—already involved with the magazine Femina—decided with his wife Cosette de Brunhoff sister of Jean the father of Babar to establish La Gazette du bon ton subtitled “Art modes et frivolités.” Georges Charensol reports the words of the editor-in-chief: “In 1910 he observed there was no fashion magazine truly artistic and representative of the spirit of its time. I therefore thought of creating a luxury magazine with genuinely modern artists . I was certain of success for in matters of fashion no country can rival France.” “Un grand éditeur d’art. Lucien Vogel” in Les Nouvelles littéraires no.133 May 1925. The success of the review was immediate not only in France but also in the United States and South America. At the outset Vogel brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud soon joined by Georges Lepape and Dammicourt; and finally his friends from the École des Beaux-Arts George Barbier Bernard Boutet de Monvel and Charles Martin. Other talents quickly joined: Guy Arnoux Léon Bakst Benito Umberto Brunelleschi Chas Laborde Jean-Gabriel Domergue Raoul Dufy Édouard Halouze Alexandre Iacovleff Jean Émile Laboureur Charles Loupot Maggie Salcedo. Most of these artists were unknown when Vogel first engaged them yet they would later become emblematic and highly sought-after figures in the art world. These same illustrators also created the advertisements for the Gazette. The plates highlighted and exalted the creations of seven designers of the period: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. For each issue the couturiers provided exclusive designs. Nevertheless some illustrations did not reproduce actual models but rather conveyed the illustrator’s vision of contemporary fashion. La Gazette du bon ton represents a decisive stage in the history of fashion. Combining aesthetic refinement with visual unity it brought together for the first time the leading talents of art literature and couture imposing through this alchemy an entirely new image of womanhood—slender independent and bold—further embodied by the new generation of designers such as Coco Chanel Jean Patou and Marcel Rochas. Taken over in 1920 by Condé Montrose Nast La Gazette du bon ton greatly influenced the new composition and aesthetic choices of the “little dying magazine” Nast had acquired a few years earlier: V Lucien Vogel éditeur unknown‎

Référence libraire : 73134

‎Laure ALBIN GUILLOT - (Fernand SIMEON) - LUC-BENOIST‎

‎Les artistes du livre. Siméon‎

‎Paris: Henri Babou 1930. Fine. Henri Babou Paris 1930 20.50 x 26.50 cm en feuilles sous chemise à lacets First edition one of 50 numbered copies on Japon ours unjustified deluxe copy. Fine copy spine and boards of the chemise marginally sunned and spotted. Letter-preface by Jean-Jacques Brousson. Photographic portrait of Fernand Siméon by Laure Albin Guillot. Work illustrated with a frontispiece black illustrations in the text as well as 15 hors-texte plates in black and colors extracted from works illustrated by the artist. Our copy lacks the original drawing by Fernand Siméon which should appear in the deluxe copies. Henri Babou hardcover‎

Référence libraire : 75475

‎Andre ANTOINE - Tristan BERNARD - Leon DAUDET‎

‎Plaisirs‎

‎Paris: Roger Dacosta 1935. Fine. Roger Dacosta Paris 1935 16.50 x 25 cm en feuilles sous étui First edition one of 20 numbered copies on nacre Japan paper the only deluxe copies. Texts by André Antoine Tristan Bernard Léon Daudet Maurice Dekobra Henry-Paté. The first text by André Antoine is illustrated with colored in-text illustrations by Jean Bruller; the second by Tristan Bernard by Edy Legrand; the following by Pesle; that of Maurice Dekobra by Jean-Emile Laboureur and finally Henry-Paté by Josué Gaboriaud. Handsome copy complete with its slipcase the first cover of which is illustrated with a drawing by Marcel Vertès. Roger Dacosta unknown‎

Référence libraire : 75106