[Galanis; Carlègle; Ricardo Florès; Edouard Bernard; Cardona; Wagner; Kirchner et D'Ostoya].MareMagnum
330 résultats
Une revue de format in 4° de 20 pp., couverture comprise; entièrement illustrée par ces différents Illustrateurs. Bel état. Voir les photos.
Bloud & Gay, s.d. (1955). In-8, broché, couverture noire illustrée et à rabat, non coupé, 346 pp. Frontispice en couleurs (G. de la Tour). Ouvrage divisé en trois parties : Une histoire des doctrines, une série d'exemples empruntés aux différents arts, et en fin un essai de systématisation personnelle. (Les Beaux-Arts, la Sculpture, Architecture, Musique et Danse, Arts plastiques, Art dramatique, Cinéma, Poésie) Un chapitre sur les implications constantes de l'esthétique. Très nombreuses planches en noir hors-texte.
Paris, Arthème Fayard, Collection Modern-théâtre, s.d. [1913]; in-8, cartonnage éditeur en demi-percaline à coins, couvertures illustrées en couleurs conservées, 126 pp. Illustrations en noir. Bel exemplaire.
Paris, Les Editions Pittoresques, 1931. In-4, broché, (20 x 28,5 cm), couverture imprimée, rempliée et illustrée, 230 pp. Illustrations en couleurs de Carlègle dans le texte. Tirage unique à 400 exemplaires. Un des 350 sur vélin de Rives. Nouvelle édition illustrée de ce roman gastronomique. (Le premier illustré est de 1926 par Falké).
Paris, Arthème Fayard, Collection Modern-théâtre, s.d. [1911]. In-8, cartonnage éditeur en demi-percaline à coins, couvertures illustrées en couleurs conservées, 126 pp. Illustrations en noir. Bel exemplaire.
1925A MATCHLESS COPY OF CARLEGLE'S MASTERPIECE, ONE OF THE GREAT ART-DECO LIVRES D'ARTISTE. Beautifully illustrated with 18 large color-printed woodcuts in orange and black (and 29 smaller woodcut ornaments) by CarlËgle. From a total edition of 585 numbered copies, this is ONE OF ONLY 25 COPIES ON MOULDMADE JAPANESE PAPER, WITH A SECOND SUITE OF THE 18 COLOR WOODCUTS ON IMPERIAL JAPANESE PAPER AND A THIRD SUITE ON CHINESE PAPER. Prospectus and bulletin de souscription laid in. 4to. Loose as issued in original wraps. Housed in a custom-made clamshell box. FINE AND BRIGHT, WITH NO DEFECTS.
1914réf. 1260651914. Paris: Lucien Vogel 1914. Single plate. § From a spectacularly illustrated fashion magazine of the early 1900s depicting the cutting edge of style at the time. unknown books
1927réf. 189671Paris: Xavier Havermans 1927. Softcover. VG- light shelfwear and soiling to wraps and text block pages are clean and clear. Tan wraps with black and red lettering; V 90 color and bw illustrations mylar cover. Text is in French. Color illustrations throughout from Swiss born artist Charles-Emile Carlegle. Xavier Havermans paperback books
1929réf. 31574Paris: Editions Mornay 1929. Very Good. Paris: Éditions Mornay 1929. First Thus Limited to 1000 copies of which this is no. 639. Small quarto; mid-century three-quarter forest green crushed morocco over marbled boards gilt spine in five compartments top edge gilt marbled endpapers original wrappers bound in; 291pp.; color frontispiece illus. throughout. Spine leather sunned to brown attractive bookseller ticket of the Montreal-based Librairie Deom to front pastedown else a Very Good to Near Fine example. Editions Mornay unknown books
1927réf. 328556Paris: Établissements Nicolas 1927. Pamphlet. 101 9p. color illustrations maps 3 1 folded table 1 folded leaf with a 2-color chart wraps. 8x5.75. Includes a 2 page note from the publisher. Bound in crunchy velvet with a green marbled pattern. Chipped at head and tail of spine. Good. Monseigneur le Vin 4. Fourth volume of a planned five-volume series on the history of wine and wine-producing regions in France. Illustrations by Charles Egli known for his iconic illustrations for satirical journals such as Le Rire and L'Assiette au Beurre. Établissements Nicolas unknown books
réf. B174613-1Paris Librairie Payot et Cie. n.d. 301 1pp. 113 illus. Dec. illus. wraps. Glassine d.j. Paris (Librairie Payot et Cie.), n.d. paperback books
réf. B173345-1Paris Société Littéraire de France 1916. 4 56 2pp. Prof. illus. Text in manuscript by the artist. Oblong 4to. Cloth with dec. illus. supralibros title in color. Acetate d.j. New fitted cloth clamshell case. Paris (Société Littéraire de France), 1916. hardcover books
réf. B174834-1Paris Librairie Payot et Cie. n.d. 271 1pp. 107 illus. Frontis. portrait. Dec. wraps. Glassine d.j. Paris (Librairie Payot et Cie.), n.d. paperback books
réf. B174834-2Paris Librairie Payot et Cie. n.d. 271 1pp. 107 illus. Frontis. portrait. Dec. wraps. Glassine d.j. 5me mille. Light wear. Paris (Librairie Payot et Cie.), n.d. paperback books
réf. 103392Paris Société littéraire de France 1916. Quer-8° 56 S. m blattgrosssen Illustr. OLwd. m Deckelillustration Deckel berieben min. fleckig Exlibris a Vors. Im Gelenk etws locker. Charles-Émile Egli dit Carlègle 1877–1937 est un graveur illustrateur et peintre suisse naturalisé français.Sous le nom de « Carlègle » il illustre des journaux satiriques tels que L'Assiette au beurre Le Rire Demain ou La Vie parisienne mais aussi L'Illustration Cocorico Fantasio et de nombreux livres et textes classiques ou contemporains comme La Fontaine Ronsard Verlaine Henri de Régnier etc.À compter de 1905 il commence à publier des albums de gravures comme L'Automobile 217-UU et Une histoire qui finit mal. En 1908 il commence à réaliser des illustrations destinées à des ouvrages. En 1909 il participe à des expositions internationales de dessinateurs humoristiques Paris Copenhague. Sa production ne faiblit pas dans les années 1920 et il reste à la fois chic et populaire produisant pour la Gazette du Bon Ton et La Vie Parisienne. Text franz. Dieses Buch befindet sich in unserem Aussenlager; sollten Sie dieses im Laden abholen wollen bitten wir Sie um vorgängige Nachricht. 010 Paris, Société littéraire de France, 1916 unknown
réf. 61575Paris Editions Mournay 1929 u. 1930. 8° Fronti 292 u. 242 S. zahlr. farb. Abb. Privat-HLdr. d. Zeit m. goldgepr. Deckel u. Rücken m. 5 Zierbünden Kopfgoldschnitt Frontumschlag der OBroschur jeweils beigebunden. Rücken min. beschienen Frontumschlag u. Schnitt min. gebräunt sonst gutes Exemplar. = Les beaux livres Nr. 49 u. 54. Text frz. Exemplaires numérotés sur papier de rives. Mit Abzügen von Aquarellen von Carlègle. Stempel a. fliegendem Vorsatz des bekannten Zürcher Kunstbuchbinders Louis Nabholz 1868-1932. 010 Paris, Editions Mournay, 1929 u. 1930 unknown
1914réf. 1260651914. Paris: Lucien Vogel 1914. Single plate. § From a spectacularly illustrated fashion magazine of the early 1900s depicting the cutting edge of style at the time. unknown
1905réf. 95420Paris : Office Central de la Librairie Librairie Molière 1905. Carlègle. - Cuénoud Edmond.Une histoire qui finit mal. Texte d’Edmond Cuénoud. Dessins de Carlègle. Album Carlègle. Paris Office Central de la Librairie Librairie Molière1905 193x285mm 31 pages 30 pages 1 feuille illustrée format à l’italienne illustrations en couleurs cartonnage illustré de l’éditeur dos toilé rouge plat supérieur taché usures sur certains bords des plats intérieur en parfait état dédicace de l’auteur de l’illustrateur sur la page de garde. No hidden customs fees for orders shipped to the U.S.A with a value of up to 800 USD PDDP shipping we pay the VAT in advance Office Central de la Librairie Librairie Molière unknown
1931réf. 95422Paris : Editions Bourrelier-Chimènes 1931. broché. Carlègle. La chasse à l’éléphant ou les vertus ménagères. Paris Editions Bourrelier-Chimènes1931 160x245mm 57 planches format à l’italienne broché. Couverture illustrée. Exemplaire numéroté sur papier Japon 87 / 300. Très bel exemplaire. No hidden customs fees for orders shipped to the U.S.A with a value of up to 800 USD PDDP shipping we pay the VAT in advance Editions Bourrelier-Chimènes unknown
1930réf. G5 - HAY175681930. Paris Calmann-Lévy Editeurs. en feuillets sous couverture rempliée. Couverture insolée rares et très faibles rousseurs en bas de quelques feuillets sinon très bon état des gravures. pt in-4. avec 66 compositions sur chine ; couverture avec titre en rouge et noir. unknown
1913réf. 89412Paris: Lucien Vogel éditeur 1913. Fine. Lucien Vogel éditeur Paris Février 1913 19 x 24.50 cm une feuille Original colour print printed on laid paper and signed in the plate lower right. Original engraving produced for the illustration of La Gazette du Bon Ton one of the most beautiful and influential fashion journals of the 20th century celebrating the talent of French designers and artists at the height of the Art Deco era. A celebrated fashion magazine established in 1912 by Lucien Vogel La Gazette du bon ton appeared until 1925 with a hiatus from 1915 to 1920 due to the war the editor-in-chief having been called up for service. It consisted of 69 issues printed in only 2000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start this sumptuous publication was aimed at bibliophiles and fashionable society Françoise Tétart-Vittu La Gazette du bon ton in Dictionnaire de la mode 2016 and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot known as Cochin later used in 1946 by Christian Dior. The prints were made using stencils heightened in colors some highlighted in gold or palladium. The story began in 1912 when Lucien Vogel a man of the world involved in fashion he had already been part of the fashion magazine Femina decided with his wife Cosette de Brunhoff the sister of Jean creator of Babar to set up the Gazette du bon ton subtitled at the time: Art fashion frivolities. Georges Charensol noted the reasoning of the editor-in-chief: In 1910 he observed there was no really artistic fashion magazine nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists I was assured of success because when it comes to fashion no country on earth can compete with France. Un grand éditeur dart. 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 illustrators conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole it brought together for the first time the great talents of the artistic literary and fashion worlds; and imposed through this alchemy a completely new image of women: slender independent and daring which was shared by the new generation of designers including Coco Chanel Jean Patou Marcel Rochas and so on Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton was an important influence on the new layout and aesthetics of that little dying paper that Nast had bought a few years earlier: Vogue. Lucien Vogel éditeur unknown
1914réf. 89465Paris 1914. Fine. Paris Janvier 1914 19 x 24.50 cm une feuille Original colour print printed on laid paper and signed in the plate lower left. Original engraving produced for the illustration of La Gazette du Bon Ton one of the most beautiful and influential fashion journals of the 20th century celebrating the talent of French designers and artists at the height of the Art Deco era. A celebrated fashion magazine established in 1912 by Lucien Vogel La Gazette du bon ton appeared until 1925 with a hiatus from 1915 to 1920 due to the war the editor-in-chief having been called up for service. It consisted of 69 issues printed in only 2000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start this sumptuous publication was aimed at bibliophiles and fashionable society Françoise Tétart-Vittu La Gazette du bon ton in Dictionnaire de la mode 2016 and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot known as Cochin later used in 1946 by Christian Dior. The prints were made using stencils heightened in colors some highlighted in gold or palladium. The story began in 1912 when Lucien Vogel a man of the world involved in fashion he had already been part of the fashion magazine Femina decided with his wife Cosette de Brunhoff the sister of Jean creator of Babar to set up the Gazette du bon ton subtitled at the time: Art fashion frivolities. Georges Charensol noted the reasoning of the editor-in-chief: In 1910 he observed there was no really artistic fashion magazine nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists I was assured of success because when it comes to fashion no country on earth can compete with France. Un grand éditeur dart. 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 illustrators 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. unknown
1914réf. 84681Paris: Lucien Vogel éditeur 1914. Fine. Lucien Vogel éditeur Paris Janvier 1914 19 x 24.50 cm une feuille Original color print printed on laid paper signed at the bottom left of the plate. Original engraving created for the illustration of La Gazette du bon ton one of the most beautiful and influential fashion magazines of the 20th century celebrating the talent of French creators and artists in the full flowering of Art Deco. This famous fashion magazine founded in 1912 by Lucien Vogel was published until 1925 with an interruption during the War from 1915 to 1920 due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication these luxurious publications ""address bibliophiles and worldly aesthetes"" Françoise Tétart-Vittu ""La Gazette du bon ton"" in Dictionnaire de la mode 2016. Printed on beautiful laid paper they use a typeface specially created for the magazine by Georges Peignot the Cochin character adopted in 1946 by Christian Dior. The prints are made using the metal stencil technique heightened in colors and some highlighted in gold or palladium. The adventure began in 1912 when Lucien Vogel a man of society and fashion - he had already participated in the magazine Femina - decided to found with his wife Cosette de Brunhoff sister of Jean the father of Babar the Gazette du bon ton whose subtitle was then ""Art modes et frivolités"". Georges Charensol reports the words of the editor-in-chief: ""In 1910 he observes there existed no fashion journal truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists . I was certain of success because for fashion no country can rival France."" ""Un grand éditeur d'art. Lucien Vogel"" in Les Nouvelles littéraires n°133 May 1925. The success of the magazine was immediate not only in France but also in the United States and South America. Originally Vogel therefore brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier Bernard Boutet de Monvel or Charles Martin. Other talents quickly came 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 Charles Martin Maggie Salcedo. These artists mostly unknown when Lucien Vogel called upon them would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements. The plates highlight and sublimate the dresses of seven creators of the time: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless some of the illustrations featured no real model but only the illustrator's idea of the fashion of the day. La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic demands and plastic unity it brought together for the first time the great talents of the world of arts letters and fashion and imposed through this alchemy a completely new image of woman slender independent and audacious also carried by the new generation of couturiers Coco Chanel Jean Patou Marcel Rochas. Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the ""dying little journal"" that Nast had bought a few years earlier: Vogue magazine. Lucien Vogel éditeur unknown
1925réf. 65210Paris: Société littéraire de France 1925. Fine. Société littéraire de France Paris 1925 14.50 x 22.50 cm broché Edition illustrated with original woodcuts by Carlègle one of 49 numbered copies on Japan paper deluxe copies after 1 Japan à la forme. Our copy like the 50 Japan copies is complete with its duplicate suite on China paper of the woodcuts. A small tear reglued at head of spine. Société littéraire de France unknown
1914réf. 60831Paris: Ernest Flammarion 1914. Fine. Ernest Flammarion Paris 1914 15 x 22 cm broché First edition one of 30 numbered copies on Japan paper deluxe issue. Work illustrated with 90 black and white drawings by Carlègle. As preface a curious ""unpublished text"" by Gustave Flaubert. Very handsome copy as issued retaining its deckled edges. Ernest Flammarion unknown
