329 résultats
réf. 758Paris, Arthème-Fayard, s.d. In-8 reliure pleine toile de l'édition, couverture illustrée conservée. Volume de la populaire Modern-Bibliothèque avec de nombreuses illustrations au trait de Carlègle dans le texte.
réf. EXE00a77Paris, Le Livre du Bibliophile, Briffaut, 1924 ; grand in-8°, broché, couverture illustrée. Frontispice et 89 compositions coloriés au pochoir de Carlègle. Tiré à 1000 exemplaires ; celui-ci sur hollande.
réf. EXE-161Paris, Le livre du Bibliophile, Briffaut, 1924. In-4° broché, couverture rempliée illustrée, chemise et étui. Illustré de dessins originaux en couleurs par Carlègle. Tiré à 1000 exemplaires, celui-ci sur vergé Van Gelder. Notre exemplaire contient 5 croquis originaux à la mine de plomb ou au crayon bleu et une suite d’essai au trait.
1924réf. 24262BRIFFAUT 1924 1 Paris, G. & R. Briffaut éditeurs, Le Livre du Bibliophile, 1924, petit in-4, couverture rempliée illustrée en couleurs par Carlègle, titre en rouge, 302 pages.
1924réf. 14371Édition illustrée de dessins originaux de Carlègle. 87 compositions en couleurs.Édition tirée à 1000 exemplaires. Celui-ci (N°576) sur papier vergé Van Gelder Zonen.Paris, Le Livre du Bibliophile, G. & R. Briffaut - 1924 - 301 pages.Reliure plein chagrin rouge de l'époque signée F. Bezançon. Dos lisse aux titre et auteur dorés. Décor de cercles, filetés doré et à froid sur le premier plat. Tête dorée sur témoins, non rogné. Couverture et dos illustrés conservés. 1 coin frotté. Pas de rousseur. Très bon état. Format in-4°(28x20).
réf. 17444Paris, Le Livre du Bibliophile G. & R. Briffaut, 1984. In-4, 300 pp., broché, couverture originale illustrée (très légère insolation de la couverture, quelques petites déchirures, petites taches éparses).
1924réf. ABE-17827800062584 PAGES-18,8 CM X 27,7 CM-3 DESSINS DE CARLEGLE-(CPP1)
réf. 1701grand in 8 carré broché,276 pages,illustrations en couleurs dans le texte et frontispice par Carlègle,édition numérotée sur vélin de Rives à la forme.André Plicque & Cie 1928 édition tirée à 270 exemplaires emboîtage.
1928réf. 24234PARIS , Plicque 1928 1 Aquarelles de Carlègle, André Plicque, 1928, in-8, broché, couverture rempliée, couverture illustrée, 275 pages.
réf. EXE00a7bParis, Pichon, 1921. In-8° broché. Illustré de nombreuses gravures sur bois par Carlègle. Tiré à 560 exemplaires, celui-ci sur vélin d'Arches.
réf. 83376Chez l'Imprimeur Léon Pichon, 1921, 1 volume de 18.5x26 cm environ, 214 pages, broché. Exemplaire numéroté (N° 558) sur vélin d'Arches, agrémenté de vignettes gravées sur bois par Carlègle. Petite tache de feutre vert sur un coin, plis de lecture au dos, partie supérieure et dos légèrement insolés. Bon état malgré les défauts signalés.
1921réf. 1017791921 Paris, Léon Pichon, 1921, 260x198mm, 214pp., (4), demi-maroquin Bordeaux , dos lisse, tête dorée, gardes et plat en papier décoré, couvertures et dos conservés. Illustré d'en-têtes, vignettes, culs-de-lampes gravés sur bois en noir par Carlègle. Un des 80 exemplaires sur vélin à la cuve des papeteries d'Arches, après 30 japon, comprenant une suite sur chine de 26 épreuves, insérées dans la reliure. Bel exemplaire malgré quelques frottements aux charnières.(101779)
1915réf. 48950Payot & Cie | Paris 1915 | 13.50 x 20.50 cm | broché
1927réf. 16106Bruxelles, Editions Un coup de dés..., 1927. In-4 broché de [2]-158-[4] pages, couverture rempliée (insolée).
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
réf. 15530Bound with orig. frontwrapper in cont. hcalf. No 948 of 928 "sur papier de Rives" a total of 1065. Fine colourplates by Carlègle. unknown
réf. 12021Editions Mornay Paris 1933. In/8 broché couverture rempliée illustrée dune vignette illustrations de Carlègle : 30 compositions originales en couleur dont un frontispice une en-tête 27 in-texte et un cul de lampe 326 pages. Dos insolé avec léger manque en coiffe supérieur. Monod 3303. Exemplaire numéroté sur papier de Rives unknown
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, 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.
réf. 15538Bound with orig. wrappers in private boards gilt titlelabel. Top edge gilt. Uncut. No 457 of 940 "sur papier de Rives" a total of 1050. Many colour-illustrations by Carlègle. hardcover
1912réf. 54480Paris: Lucien Vogel éditeur 1912. Fine. Lucien Vogel éditeur Paris 1912-1913 19 x 24.50 cm une feuille Original color print printed on vergé paper signed in the plate. An original print used to illustrate the Gazette du bon ton one of the most attractive and influential 20th century fashion magazines featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel La Gazette du bon ton appeared until 1925 with a hiatus from 1915 to 1920 due to the war the editor-in-chief having been called up for service. It consisted of 69 issues printed in only 2000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start this sumptuous publication was aimed at bibliophiles and fashionable society Françoise Tétart-Vittu La Gazette du bon ton in Dictionnaire de la mode 2016 and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot known as Cochin later used in 1946 by Christian Dior. The prints were made using stencils heightened in colors some highlighted in gold or palladium. The story began in 1912 when Lucien Vogel a man of the world involved in fashion he had already been part of the fashion magazine Femina decided with his wife Cosette de Brunhoff the sister of Jean creator of Babar to set up the Gazette du bon ton subtitled at the time: Art fashion frivolities. Georges Charensol noted the reasoning of the editor-in-chief: 'In 1910' he observed there was no really artistic fashion magazine nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists I was assured of success because when it comes to fashion no country on earth can compete with France.' Un grand éditeur d'art. Lucien Vogel in Les Nouvelles littéraires no. 133 May 1925. The magazine was immediately successful not only in France but also in the United States and Latin America. At first Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt as well as eventually his friends from school and the School of Fine Arts like George Barbier Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux Léon Bakst Benito Boutet de Monvel Umberto Brunelleschi Chas Laborde Jean-Gabriel Domergue Raoul Dufy Édouard Halouze Alexandre Iacovleff Jean Émile Laboureur Charles Loupot Chalres Martin Maggie Salcedo. These artist mostly unknown when Lucien Vogel sought them out later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on and celebrate dresses by seven designers of the age: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless some of the illustrations are not based on real models but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole it brought together for the first time the great talents of the artistic literary and fashion worlds; and imposed through this alchemy a completely new image of women: slender independent and daring which was shared by the new generation of designers including Coco Chanel Jean Patou Marcel Rochas and so on Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton was an important influence on the new layout and aesthetics of that little dying paper that Nast had bought a few years earlier: Vogue. Lucien Vogel éditeur unknown
1914réf. 43225Paris: Lucien Vogel éditeur 1914. Fine. Lucien Vogel éditeur Paris 1914 19.50 x 25 cm une feuille Original color print printed on vergé paper signed in the plate. An original print used to illustrate the Gazette du bon ton one of the most attractive and influential 20th century fashion magazines featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel La Gazette du bon ton appeared until 1925 with a hiatus from 1915 to 1920 due to the war the editor-in-chief having been called up for service. It consisted of 69 issues printed in only 2000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start this sumptuous publication was aimed at bibliophiles and fashionable society Françoise Tétart-Vittu La Gazette du bon ton in Dictionnaire de la mode 2016 and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot known as Cochin later used in 1946 by Christian Dior. The prints were made using stencils heightened in colors some highlighted in gold or palladium. The story began in 1912 when Lucien Vogel a man of the world involved in fashion he had already been part of the fashion magazine Femina decided with his wife Cosette de Brunhoff the sister of Jean creator of Babar to set up the Gazette du bon ton subtitled at the time: Art fashion frivolities. Georges Charensol noted the reasoning of the editor-in-chief: 'In 1910' he observed there was no really artistic fashion magazine nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists I was assured of success because when it comes to fashion no country on earth can compete with France.' Un grand éditeur d'art. Lucien Vogel in Les Nouvelles littéraires no. 133 May 1925. The magazine was immediately successful not only in France but also in the United States and Latin America. At first Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt as well as eventually his friends from school and the School of Fine Arts like George Barbier Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux Léon Bakst Benito Boutet de Monvel Umberto Brunelleschi Chas Laborde Jean-Gabriel Domergue Raoul Dufy Édouard Halouze Alexandre Iacovleff Jean Émile Laboureur Charles Loupot Chalres Martin Maggie Salcedo. These artist mostly unknown when Lucien Vogel sought them out later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on and celebrate dresses by seven designers of the age: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless some of the illustrations are not based on real models but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole it brought together for the first time the great talents of the artistic literary and fashion worlds; and imposed through this alchemy a completely new image of women: slender independent and daring which was shared by the new generation of designers including Coco Chanel Jean Patou Marcel Rochas and so on Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton was an important influence on the new layout and aesthetics of that little dying paper that Nast had bought a few years earlier: Vogue. Lucien Vogel éditeur unknown
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
1914réf. 54616Paris: Lucien Vogel éditeur 1914. Fine. Lucien Vogel éditeur Paris Janvier 1914 19 x 24.50 cm une feuille Original color print printed on vergé paper signed in the plate. An original print used to illustrate the Gazette du bon ton one of the most attractive and influential 20th century fashion magazines featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel La Gazette du bon ton appeared until 1925 with a hiatus from 1915 to 1920 due to the war the editor-in-chief having been called up for service. It consisted of 69 issues printed in only 2000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start this sumptuous publication was aimed at bibliophiles and fashionable society Françoise Tétart-Vittu La Gazette du bon ton in Dictionnaire de la mode 2016 and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot known as Cochin later used in 1946 by Christian Dior. The prints were made using stencils heightened in colors some highlighted in gold or palladium. The story began in 1912 when Lucien Vogel a man of the world involved in fashion he had already been part of the fashion magazine Femina decided with his wife Cosette de Brunhoff the sister of Jean creator of Babar to set up the Gazette du bon ton subtitled at the time: Art fashion frivolities. Georges Charensol noted the reasoning of the editor-in-chief: 'In 1910' he observed there was no really artistic fashion magazine nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists I was assured of success because when it comes to fashion no country on earth can compete with France.' Un grand éditeur d'art. Lucien Vogel in Les Nouvelles littéraires no. 133 May 1925. The magazine was immediately successful not only in France but also in the United States and Latin America. At first Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud followed by Georges Lepape and Dammicourt as well as eventually his friends from school and the School of Fine Arts like George Barbier Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux Léon Bakst Benito Boutet de Monvel Umberto Brunelleschi Chas Laborde Jean-Gabriel Domergue Raoul Dufy Édouard Halouze Alexandre Iacovleff Jean Émile Laboureur Charles Loupot Chalres Martin Maggie Salcedo. These artist mostly unknown when Lucien Vogel sought them out later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on and celebrate dresses by seven designers of the age: Lanvin Doeuillet Paquin Poiret Worth Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless some of the illustrations are not based on real models but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole it brought together for the first time the great talents of the artistic literary and fashion worlds; and imposed through this alchemy a completely new image of women: slender independent and daring which was shared by the new generation of designers including Coco Chanel Jean Patou Marcel Rochas and so on Taken over in 1920 by Condé Montrose Nast the Gazette du bon ton was an important influence on the new layout and aesthetics of that little dying paper that Nast had bought a few years earlier: Vogue. Lucien Vogel éditeur unknown
