‎Estampes‎

‎BRETON (André) - MAN RAY - COLLECTIF‎

‎André Breton. 42, rue Fontaine. Manuscrits.‎

‎Drouot Auction Paris 2003. Calmels, Cohen, Paris, vente aux enchères publiques des collections d'André Breton, du 7 au 17 avril 2003.- Le volume concernant les "Manuscrits". In-4 broché au format (27 x 21 cm), couverture recouverte d'un plexiglass imprimé avec le portrait de André Breton, 353 pages, nombreuses illustrations. importante documentation et iconographie sur le SURREALISME.- 1435g.- Edition originale en bel état.‎

Referentie van de boekhandelaar : 31720

‎BREBIETTE Pierre‎

‎Sainte Famille‎

‎IFF 11, Le Blond excudit avec privilège du Roy. Habituellement on trouve le privilège d’Auguste Quesnel. (état postérieur) À gauche Saint Joseph et la Vierge tenant l’Enfant, dont Saint Jean Baptiste baise le pied. À droite Sainte Anne, une femme et S. Joachim. XVIIè 11,5 x 16‎

Referentie van de boekhandelaar : 6625

‎BREWSTER Jerry‎

‎ZUNIGA. The complete Graphics 1972-1984. Interview and essay by Burt Chernow‎

‎New York - London Alpine Fine Arts Collection 1984 in 4 (29,5x26,5) 1 volume reliure toilée beige de l'éditeur sous jaquette rempliée illustrée en couleurs, 245 pages, avec de nombreuses reproductions en couleurs. Catalogue of prints. 101 oeuvres reproduites et décrites en regard. Zuñiga. Texte en langue anglaise. First edition. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )‎

‎Très bon Jaquette en très bon état Couverture rigide‎

Referentie van de boekhandelaar : 36840 ISBN : 881680079

‎Brenda Z. Guiberson‎

‎Teddy Roosevelt's Elk‎

‎New York NY: Henry Holt & Company 1997. In New Gift condition! Stated first edition. As Teddy Roosevelt breaks camp on the western plain an elk calf is born on the Olympic Mountains. Nearby a great bull sharpens his antlers bobwhites call from the sagebrush and a waterfall glitters in the sunlight. For Teddy Roosevelt the coming year will be a time of enlightenment as he takes steps to conserve the wild places and animals of America. Full color. Stated First Edition. Hardcover. Fine/Fine. Illus. by Patrick O'Brien. Henry Holt & Company Hardcover‎

Referentie van de boekhandelaar : 001496 ISBN : 0805042962 9780805042962

‎Brett Simon introduction. Lawrence Stanley. Simon Brett Joan Hassell Edwina Ellis et al wood engravings of‎

‎A CROSS SECTION - THE SOCIETY OF WOOD ENGRAVERS IN 1988‎

‎Wakefield: Fleece Press 1988. 1st Edition Limited. Hardcover. Fine. 225 copies with 160 for sale quarter cloth. Fine apparently unused copy in light blue cloth slipcase that has a modestly faded edge. Dedicated to wood engraver Stanley Lawrence 1900-1987. Fleece Press hardcover books‎

Referentie van de boekhandelaar : 012539

‎Brillat-Savarin (Anthelme) :‎

‎Aphorismes. Menus et Variétés. Gravures originales à la manière noire de Mario Avati.‎

‎Paris, Les Francs Bibliophiles, 1961 ; in-8 en feuilles ; couverture crème imprimée en bleu marine rempliée, étui de suédine noire (emboitage de l'éditeur) ; (3) ff. blancs, 108, (8) pp., (3) ff. blancs, 25 gravures dont 1 en frontispice, protégées par des serpentes de papier de soie.‎

‎Première édition, tirage unique à 175 exemplaires sur vélin de Rives à la cuve (celui-ci N°44, au nom de Philippe Borde). Bien entendu, l'auteur parle de bonne chère, du Bugey et du Lyonnais ainsi que des produits de ces régions : poulardes de Bresse, écrevisses, carpes, jambon de Belley, etc. Né en 1921 à Monaco, Mario Avati s'est rapidement imposé comme un graveur de grand talent ; spécialiste de la manière noire, il est souvent comparé à Kiyoshi Hasegawa et ses oeuvres figurent au catalogue des musées du monde entier (Paris, Bruxelles, La Haye, New-York, Chicago, Londres, Los Angeles, Tokyo, Philadelphie, Ottawa, Oslo, Washington, etc.).Le dos de la chemise est très légèrement passé, sinon très bel exemplaire de cet ouvrage à l'illustration très réussie.‎

Referentie van de boekhandelaar : 6087

‎BRIEGER, L‎

‎Das goldene Zeitalter der französischen Illustration.‎

‎Berlin, Harz, (1924). 4to. 47, (3) S. m. 34 Textabb., 64 Taf. OLwd (kl. Sammlerstempel auf Titel).‎

‎Über die französische Karikatur und Buchillustration im 19. Jahrhundert.‎

Referentie van de boekhandelaar : 1228382

‎Brinas Party Prints‎

‎50 Ans: Le livre d'or de mon Anniversaire I 50 Ans Decoration Noir Or I Pour 90 Entrées I Softcover I Pour les félicitations écrites que pour les plus belles photos I Idée cadeau pour les 50 ans‎

‎Independently published 2019. Paperback. New. 180 pages. French language. 8.50x8.50x0.41 inches. Independently published paperback‎

Referentie van de boekhandelaar : 2-1091238081 ISBN : 1091238081 9781091238084

‎BRINDISI, Remo (Roma, 1918 - Lido di Spina, 1996)‎

‎Sei incisioni a colori per la Storia della colonna infame di Alessandro Manzoni‎

‎Sei acqueforti acquetinte a colori originali, numerate e firmate a matita, di Remo Brindisi per la Storia della colonna infame. Introduzione critica di Roberto Sanesi Tiratura delle incisioni realizzata con torchi a mano su cartoncino Magnani per incisioni. Testo composto e impresso dalla Tipografia Annesio Nobili di Pesaro. Opera ideata e curata da Piergiorgio Spallacci. Es. VII/XXV. Cm 55x37,5. pp. 32. . Ottimo (Fine). . Edizione originale di 125 + XXV es. numerati. .‎

‎BRINDISI, Remo (Roma, 1918 - Lido di Spina, 1996),‎

‎Senza titolo‎

‎Acquaforte Firma a matita. Il foglio reca il timbro a secco del Museo di Castelvecchio di Verona e quello della Stamperia del Cappello. Esemplare 96/100. Cm 24,5X30 (Foglio 50x70). pp.. Dedica e firma autografa dell'Artista ad un noto scrittore italiano (Inscribed and signed by the Author to an important Italian literary man). Ottimo (Fine). . Tiratura 100 + XI f.c.. .‎

‎BRISSAUD Pierre‎

‎As-tu été sage ? Robe du soir et robe d'enfant de Jeanne Lanvin. (La Gazette du Bon ton, n°1. Février 1920 - Planche 6: )‎

‎- Lucien Vogel éditeur, Paris 1920, 19x24,5cm, 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 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur tirée sur papier vergé, signée en bas à droite dans la planche. Gravure originale réalisée pour l'illustration de‎

‎BRISSAUD Pierre‎

‎En tenue de parade. Robe d'hiver pour la promenade (pl.13, La Gazette du Bon ton, 1914 n°2)‎

‎- Lucien Vogel éditeur, Paris Février 1914, 19x24,5cm, 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 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. Gravure originale réalisée pour l‎

‎BRISSAUD Pierre‎

‎Le Prologue ou La Comédie au Château (pl.40, La Gazette du Bon ton, 1920 n°6)‎

‎- Lucien Vogel éditeur, Paris Juillet 1920, 18x24cm, une feuille. - Estampe originale en couleur, tirée sur papier vergé, signée en bas à gauche de la planche. Gravure originale réalisée pour l'illustration de La Gazette du bon ton, l'une des plus belles et des plus influentes revues de mode du XXème siècle, célébrant le talent des créateurs et des artistes français en plein essor de l'art déco. Célèbre revue de mode fondée en 1912 par Lucien Vogel, La Gazette du bon ton a paru jusqu'en 1925 avec une interruption durant la Guerre de 1915 à 1920, pour cause de mobilisation de son rédacteur en chef. Elle se constitue de 69 livraisons tirées à seulement 2000 exemplaires et est illustrée notamment de 573 planches en couleurs et de 148 croquis représentant des modèles de grands couturiers. Dès leur parution, ces luxueuses publications « s'adressent aux bibliophiles et aux mondains esthètes » (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Imprimées sur beau papier vergé, elles utilisent une police typographique spécialement créée pour la revue par Georges Peignot, le caractère Cochin, repris en 1946 par Christian Dior. Les estampes sont réalisées grâce à la technique du pochoir métallique, rehaussées en couleurs et pour certaines soulignées à l'or ou au palladium. L'aventure commence en 1912 lorsque Lucien Vogel, homme du monde et de la mode - il a déjà participé à la revue Femina - décide de fonder avec sa femme Cosette de Brunhoff (sœur de Jean, le père de Babar) la Gazette du bon ton dont le sous-titre est alors « Art, modes et frivolités ». Georges Charensol rapporte les propos du rédacteur en chef : « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). Le succès de la revue est immédiat, non seulement en France, mais aussi aux Etats-Unis et en Amérique du Sud. À l'origine, Vogel réunit donc un groupe de sept artistes : André-Édouard Marty et Pierre Brissaud, suivis de Georges Lepape et Dammicourt ; et enfin ses amis de l'École des beaux-arts que sont George Barbier, Bernard Boutet de Monvel, ou Charles Martin. D'autres talents viennent rapidement rejoindre l'équipée : 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. Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, deviendront par la suite des figures artistiques emblématiques et recherchées. Ce sont ces mêmes illustrateurs qui réalisent les dessins des publicités de la Gazette. Les planches mettent en lumière et subliment les robes de sept créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet et Doucet. Les couturiers fournissent pour chaque numéro des modèles exclusifs. Néanmoins, certaines des illustrations ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. La Gazette du bon ton est une étape décisive dans l'histoire de la mode. Alliant l'exigence esthétique et l'unité plastique, elle réunit pour la première fois les grands talents du monde des arts, des lettres et de la mode et impose, par cette alchimie, une toute nouvelle image de la femme, élancée, indépendante et audacieuse, également portée par la nouvelle génération de couturiers Coco Chanel, Jean Patou, Marcel Rochas... Reprise en 1920 par Condé Montrose Nast, la Gazette du bon ton inspirera largement la nouvelle composition et les choix esthétiques du « petit journal mourant » que Nast avait racheté quelques années auparavant : le magazine Vogue. [ENGLISH DESC‎

‎BRISSAUD Pierre‎

‎Mon pauvre gazon ! Robe de garden party de Chéruit. (La Gazette du Bon ton, n°11, Année 1913 - Planche VIII )‎

‎- Lucien Vogel éditeur, Paris 1913, 19,5x25cm, 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 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur tirée sur papier vergé, signée en bas à gauche dans la planche. Gravure originale réalisée pour l'illus‎

‎BRISSAUD Pierre‎

‎Pour les pauvres. Robe d'après-midi et robe de petite fille, de Jeanne Lanvin. (La Gazette du Bon ton, n°3. Avril 1920 - Planche 23: )‎

‎- Lucien Vogel éditeur, Paris 1920, 19x24,5cm, 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 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur tirée sur papier vergé, signée en bas à droite dans la planche. Gravure originale réalisée pour l'illus‎

‎BRISSAUD Pierre‎

‎Respirons un peu. Robes du soir, de Beer. (La Gazette du Bon ton, n°3. Avril 1920 - Planche 21)‎

‎- Lucien Vogel éditeur, Paris 1920, 19x24,7cm, 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 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur tirée sur papier vergé, signée en bas à droite dans la planche. Gravure originale réalisée pour l'illustration de‎

‎BRITISH INDIA 1870S ENGRAVINGS‎

‎Quinine Culture - The Cinchona Plantations at Darjeeling Bengal.‎

‎New York.: Harper's Weekly. 23 November1872. Five engravings in three columns 23.5 x 10 cms; on a single newspaper leaf 28.7 x 40.8 cm unrelated text on the verso lower margin creased with a small central tear affecting the caption no loss the image sin very good condition. Engravings from Harper's Weekly in November 1872 all centred on the quinine production in Darjeeling. Production began in the 1860s from seeds sent by the famed botanist Sir Joseph Dalton Hooker. Quinine proved indispensable to British rule in India and they invested heavily in plantations to sure up supply.The anti-malarial was vital for colonial expansion "quinine coursed through the bloodstream of empire" Townsend Middleton "Becoming after: The Lives and Politics of Quinine’s Remains" in Cultural Anthropology Vol. 36 Issue 2 pp. 282-311 2014 although probably known more to the readers of Harper's Weekly as an essential for gin and tonic. <br> <br>The five engravings: <br>Foot-Bridge over the River Rungbee <br>Buttress of Suspension Bridge over the River Teestah <br>Cinchona Succirubra Thirty Feet High signed but indecipherable <br>Native of Sikkim <br>Cane Suspension Bridge over the Great Runjeet. . Harper's Weekly. unknown‎

Referentie van de boekhandelaar : 195548

‎British Museum. Sub-Dept. of Oriental Prints and Drawings / Binyon, Laurence, 1869-1943.‎

‎A Catalogue of Japanese & Chinese Woodcuts Preserved In The Sub-Department of Oriental Prints And Drawings In The B. M.‎

‎Eastford CT Martino / London Printed by Order of the Trustees British Museum 1916 / 2011. Hard Cover. 605 p. col. front. plates part col. Still one of the most useful works on Japanese prints from the earliest examples to 1868. In fullness of information this book was considered the first detailed and descriptive catalogue of a public collection of Japanese prints ever published. It also marked an advance over every other book about Japanese Prints previous to its publication. Binyon provides a compact historical survey of the art of wood-engraving as practiced in the Far East. Binyon also provides short biographies for each artist as well as a description of each work including medium dimensions and often a short annotation. Also provided are: Table of artists arranged according to schools; notes on the dating of Japanese woodcuts; States variations reprints forgeries; Pigments; sales catalogues; exhibition catalogues signature of artists and more. Well over a thousand prints are described. A standard work. Artnzen / Rainwater; N148. Stock# 46600x. Fine new from publisher / no dj. Eastford, CT, Martino / [London] Printed by Order of the Trustees, British Museum, 1916 / 2011 hardcover‎

Referentie van de boekhandelaar : 46600

‎BRITISH MUSEUM Department of Prints and Drawings *‎

‎an EXHIBITION of MODERN PRINTS and DRAWINGS and OTHER RECENT ACQUISITIONS 1967~1972: 28 APRIL to 31 AUGUST 1972‎

‎Great Britain : Trustees of BRITISH MUSEUM 1972. Soft cover. Very Good. Book: Very Good/ $25.88 0714107352 an EXHIBITION of MODERN PRINTS and DRAWINGS and OTHER RECENT ACQUISITIONS 1967~1972: 28 APRIL to 31 AUGUST 1972 BRITISH MUSEUM Department of Prints and Drawings Trustees of BRITISH MUSEUM 1972 UnStated Edition Great Britain Tall Wide S/c Sun Bleaching On An Two Stapled Orange Spine With No Title: Soft Cover Book: Very Good/ Condition Printed On 0ff~White Paper In Very Good/ Condition Clean And Tight To The Spine. Cover Has Some Sun Browning And So Does 1sT Page. D/j: None. This Item Will Be Sent Wrapped In Plastic Taped Shut And In A = Padded Mailing Envelope = To Prevent Shipping Damage So That It Will Arrive In The Description Described Which Applies To This B00K Only. = No Odors No Writing No Names No Rippling Not Stuck Together No Book Plate Not X~Library No Other Marks. = Will Make It An Excellent Addition To Your Own Personal Library Collection Or As A Gift For The Discriminating Reader / Collector. = WORLD WIDE SHIPPING AVAILABLE <br/> <br/> Trustees of BRITISH MUSEUM paperback‎

Referentie van de boekhandelaar : 017461 ISBN : 0714107352 9780714107356

‎British Museum Department of Prints‎

‎Catalogue of the Collection of Playing Cards Bequeathed to the Trustees of the British Museum by the Late Lady Charlotte Schreiber. Comp. by Freeman O'Donoghue . Printed by Order of the Trustees‎

‎Paperback / softback. New. paperback‎

Referentie van de boekhandelaar : B9781015290679 ISBN : 1015290671 9781015290679

‎British Museum Dept of Prints and D‎

‎Catalogue of Drawings by British Artists and Artists of Foreign Origin Working in Great Britain .; 3‎

‎Paperback / softback. New. paperback‎

Referentie van de boekhandelaar : B9781013902895 ISBN : 1013902890 9781013902895

‎British Museum Dept of Prints and D‎

‎Catalogue of Prints and Drawings in the British Museum: Division I. Political and Personal Satires; Volume 5‎

‎Hardback. New. hardcover‎

Referentie van de boekhandelaar : A9781018562117 ISBN : 1018562117 9781018562117

‎British Museum. Department of Prints and Drawings‎

‎Catalogue of prints and drawings in the British Museum. Division I. Political and personal satires - vol. II‎

‎London : By Order of the Trustees 1873. 1st edition. Hardcover. Poor copy in the original gilt-blocked cloth. Spine damaged with loss. Spine bands worn; panel edges somewhat dust-toned and rubbed as with age. Text remains clear and without blemish. Physical description; 1 v.: ill ; 26 cm. Subjects; British Museum. Department of Prints and Drawings . Catalogue of political and personal satires. Bibliography. Caricatures and cartoons. London : By Order of the Trustees hardcover‎

Referentie van de boekhandelaar : 406989

‎British Museum Dept of Prints and D‎

‎Catalogue Of Prints And Drawings In The British Museum Volume 3 Part 2‎

‎Hardback. New. hardcover‎

Referentie van de boekhandelaar : B9781020980596 ISBN : 1020980591 9781020980596

‎British Museum Department of Prints and Drawings‎

‎Catalogue of prints and drawings in the British Museum Division One Satires Volume One Two and Three Part One‎

‎London: By order of the Trustees 1870. First Edition. Hardcover. 3 Volumes. Good to very good copies in gilt-blocked cloth. Spine band worn on volume three. Panel edges bumped and rubbed as with age. Internally bright and clean. Remains quite well-preserved overall. Physical description: 3 Volumes. Contents: Volume 1- 1320 to April 11 1689. Volume 2- June 1689 to 1733. Volume 3 Part One March 28 1734 to c. 1750. Subjects: Engraving England London; Catalogs.Drawing England London; Catalogs. Caricatures and cartoons; Catalogs. London: By order of the Trustees hardcover‎

Referentie van de boekhandelaar : 375224