‎Collectibles‎

‎Aleksandr Yevgeniyevich YAKOVLEF - (Paul POIRET)‎

‎L'Heure du rendez-vous. Manteau d'après-midi de Paul Poiret pl.71 La Gazette du Bon ton 1920 n°9‎

‎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 left of the board. 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 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

Référence libraire : 57580

‎Eugene GUILLEVIC‎

‎Terraqué‎

‎Paris: Gallimard 1942. Fine. Gallimard Paris 1942 12 x 19 cm broché Edition of wich no leading copies exists third edition of mention. Signed autograph and erroneously dated 1939 Eugene Guillevic Christmas Bureau: "". the double title of poet and chain companion ."" Small tears in the top and bottom of the back. Gallimard unknown‎

Référence libraire : 56336

‎Roger BRODERS‎

‎Costumes parisiens. Tailleur du matin en velours de laine orné de Skungs pl.43 Journal des Dames et des Modes 1912 n°21‎

‎Paris: S. n. 1912. Fine. S. n. Paris 1912 14 x 22.50 cm une feuille original print in color printed on laid paper signed lower right of the board. One of the first French fashion magazines published a few days before the famous Gazette fashionable and bringing together the greatest French artists of the Art Deco movement. The Journal ladies and modes is a trimensuelle illustrated French fashion magazine created in 1797. Its publication was stopped in 1839 before being taken in June 1912 under the leadership of Tommaso Antongini secretary friend and biographer of Gabriele 'Annunzio. It will disappear in August 1914 on the eve of the First World War. The review was drawn to 1279 copies making it for the time a relatively confidential publication. The 186 plates with great finesse are engraved on strong paper and colored stencil. They represent the majority of the time women but also men and children. The models are not unlike those of the Gazette fashionable whose publication will be launched a few months later those renowned couturiers but are the fruit of the imagination of the illustrators themselves. The stencils are mostly executed by George Barbier but other artists collaborating on the magazine: Léon Bakst B. Berty Bernard Boutet de Monvel Roger Broders Jan van Brock Umberto Brunelleschi H. Robert Dammy Etienne Drian Abel Faivre Marie-Madeleine Franc-Nohain Xavier Gosé Paul Iribe Kriegck Victor Lhuer Pierre Legrain Charles Martin Fernand Simeon Ismael Smith Armand Vallee and Gerda Wegener. Many of these illustrators will also be involved in The Gazette fashionable. Their work emblematic of the Art Deco movement emphasize the influence of Orientalism and costumes of the Ballets Russes while registering in the daily activities of affluent French of the time. From the preface of the first issue of 1912 Anatole France said: ""After seventy-five years he is reborn. He is reborn through the efforts of a few ingenious minds and artists. He is reborn for the curious if there is that do not simply modes newspaper fired several thousand and illustrated by photography. And if publishers make us very exactly in its format with its paper printing its processes of etching and coloring the old classic patterns of the past is that they intend to continue the pleasantly and become charming classic fashion of today and tomorrow. "" S. n. unknown‎

Référence libraire : 57648

‎Maurice SACHS‎

‎Abracadabra‎

‎Paris: Gallimard 1952. Fine. Gallimard Paris 1952 12 x 19 cm broché First edition one of 65 numbered copies on pur fil the only deluxe copies. Spine slightly sunned otherwise a handsome copy. Gallimard unknown‎

Référence libraire : 57839

‎Maurice LEROY‎

‎Les Neiges. Costume pour les sports d'hiver en ""agnella"" de Rodier pl.65 La Gazette du Bon ton 1920 n°9‎

‎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. 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 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

Référence libraire : 57532

‎H HONORE‎

‎Costumes parisiens. Toilette de promenade pl.118 Journal des Dames et des Modes 1913 n°52‎

‎Paris: S. n. 1913. Fine. S. n. Paris 1913 14 x 22.50 cm une feuille original print in color printed on laid paper signed lower right of the board. One of the first French fashion magazines published a few days before the famous Gazette fashionable and bringing together the greatest French artists of the Art Deco movement. The Journal ladies and modes is a trimensuelle illustrated French fashion magazine created in 1797. Its publication was stopped in 1839 before being taken in June 1912 under the leadership of Tommaso Antongini secretary friend and biographer of Gabriele 'Annunzio. It will disappear in August 1914 on the eve of the First World War. The review was drawn in 1279 copies making it for the time a relatively confidential publication. The 186 plates with great finesse are engraved on strong paper and colored stencil. They represent the majority of the time women but also men and children. The models are not unlike those of the Gazette fashionable whose publication will be launched a few months later those renowned couturiers but are the fruit of the imagination of the illustrators themselves. The stencils are mostly executed by George Barbier but other artists collaborating on the magazine: Léon Bakst B. Berty Bernard Boutet de Monvel Roger Broders Jan van Brock Umberto Brunelleschi H. Robert Dammy Etienne Drian Abel Faivre Marie-Madeleine Franc-Nohain Xavier Gosé Paul Iribe Kriegck Victor Lhuer Pierre Legrain Charles Martin Fernand Simeon Ismael Smith Armand Vallee and Gerda Wegener. Many of these illustrators will also be involved in The Gazette fashionable. Their work emblematic of the Art Deco movement emphasize the influence of Orientalism and costumes of the Ballets Russes while registering in the daily activities of affluent French of the time. From the preface of the first issue of 1912 Anatole France said: ""After seventy-five years he is reborn. He is reborn through the efforts of a few ingenious minds and artists. He is reborn for the curious if there is that do not simply modes newspaper fired several thousand and illustrated by photography. And if publishers make us very exactly in its format with its paper printing its processes of etching and coloring the old classic patterns of the past is that they intend to continue the pleasantly and become charming classic fashion of today and tomorrow. "" S. n. unknown‎

Référence libraire : 57784

‎Charles KOECHLIN - Daniel BIOT - Jean de MORENE‎

‎Ports‎

‎Paris: Collection Formosa-Veritas 1933. Fine. Collection Formosa-Veritas Paris 1933 18 x 24 cm broché First edition illustrated with 33 original photographs under protective papers by Charles Koechlin Daniel Biot and Jean de Morène. Illustrated covers with photographs. A slight tear glued down to foot of upper cover small rubbing not serious on the joints. Internally good. Collection Formosa-Veritas unknown‎

Référence libraire : 56940

‎Andre VERDET‎

‎Mondes et soleils‎

‎Paris: Armand Henneuse 1954. Fine. Armand Henneuse Paris 1954 14 x 19.50 cm broché first edition on the current paper. Signed autograph Andre Verdet Rene Colombi "". fraternally in memory of Saint Paul de Vence and friends there. illustrated book of Dauphin designs. spine and boards marginally thinned otherwise nice copy. Armand Henneuse hardcover‎

Référence libraire : 57877

‎Pierre GASCAR‎

‎Auto‎

‎Paris: Gallimard 1967. Fine. Gallimard Paris 1967 12.50 x 19.50 cm broché First edition one of 70 numbered copies on pur fil paper the only large paper copies. A slight trace of an angular fold to lower cover. A good copy. Gallimard unknown‎

Référence libraire : 56690

‎Henry LAPAUZE - Jean Auguste Dominique INGRES‎

‎Les portraits dessinés de J.-A.-D. Ingres • Ingres's portraits‎

‎à Paris: Chez J.-E. Bulloz 1903. Fine. Chez J.-E. Bulloz à Paris 1903 37 x 48 cm en feuilles sous chemise Les Portraits dessinés de J.-A.-D. Ingres Ingres's portraits Chez J.-E. Bulloz à Paris 1903 37 x 48 cm loose leaves with custom slipcase The very rare first edition consisting of only 100 numbered copies the text on Arches paper with 100 charcoal portraits laid down on thick grey-blue paper margins slightly soiled gilt listel frame to each portrait Bulloz stamp to lower right. This copy has a half red morocco chemise with flaps spine soiled double gilt fillet to covers title giltstamped on upper cover cloth and paper flaps heavily damaged lower flap lacking headpieces rubbed with lacks to head and foot of joints corners rubbed ties lacking. Portraits of political and intellectual figures from the 19th century. The majority of the illustrations are signed and dated in the plate. These reproductions were mostly done after works in private collections. A noted specialist on Ingres Henry Lapauze 1867-1925 notes in his introduction «Thus these fantastic portraits most of which are jealously guarded as family heirlooms or are the pride of private collections become a national treasure that all may look upon.» Lapauze's main goal was to allow a broader public to become better acquainted with Ingres' work at a time when culture was elevated into the ranks of the French national heritage by the Third Republic. It was thus that Jean-Auguste-Dominique Ingres' 1780-1867 work once more awoke the interest of art historians and the general public at the turn of the 20th century. These one hundred portraits make up a visual gallery of Ingres' circle. Lapauze thinks it is of little importance whether or not readers are familiar with the people portrayed since the painter's genius is enough to get across the «master's glorious talent» and to ensure «the delight of people of good taste». Ingres is thus elevated into a genius of 19th century French painting. A very rare copy of the first edition of one hundred portrait drawings by Ingres. Chez J.-E. Bulloz hardcover‎

Référence libraire : 57259

‎Jules BOIS‎

‎Le mystère et la volupté‎

‎Paris: Paul Ollendorff 1901. Fine. Paul Ollendorff Paris 1901 11.50 x 18 cm relié First edition with statement of third edition. Bradel binding in half cardboard resembling vellum smooth spine decorated with a red and green floral frieze red shagreen title-label gilt date at foot marbled paper boards contemporary binding. First endpaper shaded otherwise handsome copy. Paul Ollendorff hardcover‎

Référence libraire : 57230

‎Edouard FOURNIER - Louis-Edouard FOURNIER‎

‎Chroniques et légendes des rues de Paris‎

‎Paris: E. Dentu 1893. Fine. E. Dentu Paris 1893 11.50 x 17 cm broché New edition one of the copies printed on Holland paper of which no mention is made. Work illustrated with a frontispiece drawn by Louis-Edouard Fournier. Spine and boards uniformly sunned a light marginal dampstain to the front board handsome interior condition. E. Dentu hardcover‎

Référence libraire : 58158

‎Jacques DERRIDA‎

‎Le monolinguisme de l'autre‎

‎Paris: Galilée 1996. Fine. Galilée Paris 1996 14.50 x 22.50 cm broché Edition of wich no leading copies exists. Signed autograph of Jacques Derrida Pierre BONCENNE collaborator Bernard Pivot for the program ""Apostrophes"". Nice full copy of his prayer to insert. Galilée unknown‎

Référence libraire : 58131

‎Bernard PINGAUD‎

‎Le prisonnier‎

‎Paris: La Table Ronde 1958. Fine. La Table Ronde Paris 1958 12 x 19 cm broché First edition one of 20 numbered copies on alfa paper the only large paper copies after 10 on pur fil paper. A very good copy. La Table Ronde unknown‎

Référence libraire : 56893

‎Pierre BRISSAUD - (Jeanne LANVIN)‎

‎Ils ne m'ont pas reconnue. Travesti de Jeanne Lanvin pl.52 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 Pierre BRISSAUD Jeanne LANVIN Ils ne m'ont pas reconnue. Travesti de Jeanne Lanvin Original color print from La Gazette du Bon ton Lucien Vogel éditeur Paris 1921 18 x 24 cm one leaf Original print in color printed on laid paper signed lower right of the board. 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. Lucien Vogel éditeur unknown‎

Référence libraire : 57585

‎Aurel DAVID‎

‎Vie et mort de Jean Giraudoux‎

‎Paris: Flammarion 1967. Fine. Flammarion Paris 1967 14 x 19.50 cm broché Edition for which he was not drawn large paper review copy. Precious autograph signed Aurel David Alexander Vialatte. Pitting on the boards nice interior state. complete copy of his prayer to insert. Flammarion hardcover‎

Référence libraire : 57197

‎Jean de BOURDIGNE‎

‎Hystoire agregative des annalles et cronicques danjou‎

‎à Paris: Chez Galliot du Pré 1529. Fine. Chez Galliot du Pré à Paris 1529 21 x 31.50 cm relié Extremely rare first edition featuring a full-page engraving on the verso of leaf aiiii showing a scene where the author kneeling offers his work to Louise de Savoie mother of François Ier in the presence of an important assembly. Title page in red and black text entirely ruled and set in 49 lines. Half brown sheep binding spine with six raised bands set with gilt fillets compartments underlined with cold-stamped fillets gilt roulette and double gilt fillet at foot brown paste-paper boards all edges speckled red. Very small wormhole on the final gatherings affecting the text in places without concern dampstain in the upper right corner throughout the work small yellow stains not affecting the text on verso of leaf vii. Manuscript ink ownership inscription in the lower portion of the title page reading ""du couvent des ff. Minimes de Paris"". Several manuscript annotations of the period as well as several marginal manicules. The first recorded history of the duchy of Anjou this work is placed under the patronage of Louise de Savoie who was its duchess. The frontispiece essentially centered on female figures shows them as veritable icons allegories of Knowledge and Wisdom. Alongside Louise de Savoie two other women dominate the crowd: Judith on the left and Esther on the right. Together they form a new trinity united under the motto from the Book of Proverbs ""the wise woman builds a house"". By furthermore nicknameing Louise de Savoie ""Pallas"" after the Greek goddess of Knowledge Jehan de Bourdigné inaugurates a history of Anjou constructed along two axes: the importance of historians' work and the place of this work in a historiography oscillating between medieval and Renaissance material. Bourdigné thus establishes himself as a true defender of historians and their work and presents them as the ""valiant and warlike knights who for renown battle continually against death and accomplish so much through their prowess that renown obtains victory"". At a time when history was part of belles-lettres and was not truly recognized as an independent discipline it is remarkable that historians should be thus considered. Bourdigné's work is rich in detail and apt to awaken the reader's interest. It is notable to observe that he borrows from the medieval historical manner by proposing a narrative in the form of chronicles: rich in novelistic details with historical precision sometimes neglected but nevertheless demonstrating true erudition. Indeed he explains in the prologue that his decision to write annals and chronicles is not insignificant this approach allowing him according to his view to ""have experience of cases that occurred in times past as if we had been present when they had produced their effect"". This book thus plays a pivotal role in Angevin and more broadly Gallican historiography by linking two historical manners: the medieval one represented by chronicles and that which was born in the Renaissance stemming from a humanist logic advocating a more linear narrative less inclined to subjectivity. A work on Angevin history but also more generally on Gallican history this work is celebrated by Bertoldi in his Angevins célèbres for its ""many precious details"" of which Bourdigné becomes the ""eyewitness"". Very rare first edition of the very first history of the duchy of Anjou. Chez Galliot du Pré hardcover‎

Référence libraire : 56658

‎Mario SIMON - (Gustave BEER)‎

‎Les Deux Soeurs. Manteau et robe pour le soir de Beer pl.54 La Gazette du Bon ton 1920 n°7‎

‎Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris Septembre 1920 18 x 24 cm une feuille original print in color printed on laid paper signed enhaut left of the board. 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 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

Référence libraire : 57572

‎Jean BLOT‎

‎Les cosmopolites‎

‎Paris: Gallimard 1976. Fine. Gallimard Paris 1976 14.50 x 21.50 cm broché First edition one of 20 numbered copies on Arches vellum the only deluxe copies. Handsome copy. Gallimard hardcover‎

Référence libraire : 57475

‎Paul BIZET‎

‎Aperçu général sur les terrains sédimentaires représentés dans l'est du département de l'Orne‎

‎Caen: Typographie F. Le Blanc-Hardel 1885. Fine. Typographie F. Le Blanc-Hardel Caen 1885 14 x 22.50 cm broché first edition printed in small number of the reprint of the bulletin of the Linnean Society of Normandy. Signed autograph of Paul Bizet head of the first flat Mr. Governor. Slight discoloration spots on boards rare and small inner minor foxing. Rare and nice brochure copy. Typographie F. Le Blanc-Hardel hardcover‎

Référence libraire : 58211

‎Alphonse de LAMARTINE‎

‎Raphaël‎

‎Paris: PerrotinFurne & Cie 1849. Fine. Perrotin Furne & Cie Paris 1849 15 x 23.50 cm broché sous chemise et étui First edition. Handsome autograph inscription signed by Alphonse de Lamartine to the painter Jean Gigoux. Small restored tears to head and foot of joints spotting. PerrotinFurne & Cie unknown‎

Référence libraire : 56960

‎Charles MARTIN‎

‎Le Chapeau en porcelaine. Modes et manières de Torquate pl.49 La Gazette du Bon ton 1920 n°7‎

‎Paris: Lucien Vogel éditeur 1920. Fine. Lucien Vogel éditeur Paris Septembre 1920 18 x 24 cm une feuille original print in color printed on laid paper signed lower left of the board. 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 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

Référence libraire : 57526

‎Antoinette DUPIN‎

‎Cynodie‎

‎Paris: Urbain CanelAdolphe Guyot 1833. Fine. Urbain Canel Adolphe Guyot Paris 1833 13.50 x 21.50 cm 2 volumes reliés First edition. Half dark green shagreen bindings smooth spines decorated with gilt arabesques dark green cardboard boards with some epidermures marbled endpapers and pastedowns tears to leading edges corners slightly bumped contemporary bindings. Some foxing. Urbain CanelAdolphe Guyot hardcover‎

Référence libraire : 57005

‎Pierre FALKE - Pierre MAC ORLAN‎

‎Brest‎

‎Paris: Emile-Paul frères 1926. Fine. Emile-Paul frères Paris 1926 14.50 x 20.50 cm broché First edition one of 1500 lettered copies on Lafuma vellum. Illustrated with a frontispiece by Pierre Falké. Handsome copy. Emile-Paul frères hardcover‎

Référence libraire : 56395

‎Bernard BOUTET DE MONVEL‎

‎Costumes parisiens. Blouse à plis en toile Kaki guêtres hautes en drap beige chapeau de feutre. Tenue de golf pl.16 Journal des Dames et des Modes 1912 n°9‎

‎Paris: S. n. 1912. Fine. S. n. Paris 1912 14 x 22.50 cm une feuille original print in color printed on laid paper signed lower left of the board. One of the first French fashion magazines published a few days before the famous Gazette fashionable and bringing together the greatest French artists of the Art Deco movement. The Journal ladies and modes is a trimensuelle illustrated French fashion magazine created in 1797. Its publication was stopped in 1839 before being taken in June 1912 under the leadership of Tommaso Antongini secretary friend and biographer of Gabriele 'Annunzio. It will disappear in August 1914 on the eve of the First World War. The review was drawn to 1279 copies making it for the time a relatively confidential publication. The 186 plates with great finesse are engraved on strong paper and colored stencil. They represent the majority of the time women but also men and children. The models are not unlike those of the Gazette fashionable whose publication will be launched a few months later those renowned couturiers but are the fruit of the imagination of the illustrators themselves. The stencils are mostly executed by George Barbier but other artists collaborating on the magazine: Léon Bakst B. Berty Bernard Boutet de Monvel Roger Broders Jan van Brock Umberto Brunelleschi H. Robert Dammy Etienne Drian Abel Faivre Marie-Madeleine Franc-Nohain Xavier Gosé Paul Iribe Kriegck Victor Lhuer Pierre Legrain Charles Martin Fernand Simeon Ismael Smith Armand Vallee and Gerda Wegener. Many of these illustrators will also be involved in The Gazette fashionable. Their work emblematic of the Art Deco movement emphasize the influence of Orientalism and costumes of the Ballets Russes while registering in the daily activities of affluent French of the time. From the preface of the first issue of 1912 Anatole France said: ""After seventy-five years he is reborn. He is reborn through the efforts of a few ingenious minds and artists. He is reborn for the curious if there is that do not simply modes newspaper fired several thousand and illustrated by photography. And if publishers make us very exactly in its format with its paper printing its processes of etching and coloring the old classic patterns of the past is that they intend to continue the pleasantly and become charming classic fashion of today and tomorrow. "" S. n. unknown‎

Référence libraire : 57632