Estampas

Graveurs et illustrateurs de Lorraine.

1986Nancy, Éditions Jean-Marie Cuny, 1986; in-8 oblong, 244 pp., broché. Préface de Jean-Marie Cuny. Petit dictionnaire des illustrateurs et graveurs de Lorraine, du seizième au vingtième siècle. L'auteur dit dans sa préface qu'il publiera un ouvrage sur les illustrateurs et graveurs ayant travaillés en Lorraine pour compléter cet ouvrage (le parti est intéressant, mais je ne pense pas que l'ouvrage ai été publié ?). Nombreuses illustrations en noir et blanc. Très bon état.

Librairie Alphabets · França€ 20,00

[ART] - ADHEMAR, HEBERT, LETHEVE (Jean, Michèle, Jacques)MareMagnum

Les estampes.

1973Paris, Librairie Gründ, 1973; in-4, 184 pp., cartonnage d'éditeur imprimé, sous jaquette illustrée. Collection « de l'Amateur » dirigée par Pierre Mazars. Très nombreuses illustrations en noir et blanc et quelques en couleurs. Très bon état.

Librairie Alphabets · França€ 30,00

[LITTERATURE] - BAINVILLE (Jacques)MareMagnum

Petit musée germanique, suivi de La Russie en 1916.

1917Paris, Société Littéraire de France, 1917; in-8, 312 pp., broché. Exemplaire numéroté. Bon état.

Librairie Alphabets · França€ 40,00

Brouet (Auguste).MareMagnum

Auguste Brouet. Catalogue de son Oeuvre gravé (...?) précédé d'une étude de Gustave Geffroy. Estampes.

1923Ensemble de deux volumes de format in 4° de 8 ff.; une eau-forte originale numérotée; 141 planches reproduites en phototypie avec serpentes protectrices explicatives; 4 ff. pour le tome 1. Pour le tome II: 4 ff.; planches 142 à 271 reproduites en photypie; 4ff.. Reliure de l'éditeur en demi maroquin noir à longs grains; dos à quatre nerfs, caissons richement ornés et dorés, titres dorés, dates en pied; décor de filets dorés sur les coins; têtes dorées; non rogné. Couvertures entièrement conservées. Tirage total à 1030 exemplaires; celui-ci N°132 sur vélin, second papier. Rousseurs en marge de la gravure originale sans atteinte à l'oeuvre sinon exemplaire frais en état quasi neuf. Joint une photographie de l'artiste.

Sciardet Daniel · França€ 950,00

TAKESHIRO NAGASSEMareMagnum

LA FIGURE HUMAINE DANS LES ESTAMPES JAPONAISES A LA FIN DU XVIII ET AU DEBUT DU XIXè SIECLE

1934Paris, Les éditions d'art et d'histoire 1934. In-4 broché, couverture rempliée, 38 pages + 8 planches hors texte

Artgil · França€ 18,00

COLLECTIFMareMagnum

Suisse à l'URDLA

1999URDLA, 1999. In-8 broché de 111 pages illustrées. Bon état

Artgil · França€ 14,00

SMEDT Marc deMareMagnum

L'érotisme chinois

1984Solar 1984, In-4 cartonnage éditeur sous jaquette illustrée, 96 pages. Reproductions couleur. Bon état

Artgil · França€ 15,00

ROSENTHAL LéonMareMagnum

Manuels d'histoire de l'art. La gravure

1909Paris, Librairie Renouard - H. Laurens éditeur, 1909. In-4 relié percaline éditeur à plats décorés. IV + 472 pages. 174 figures. Bibliographie, tableau chronologique sommaire, table des termes techniques, table es noms d'artistes, table des illustrations. Bel exemplaire, essentiel sur le sujet. Contient un chapitre "Note sur l'Intaille", notamment en Egypte, en Chaldée, en Grèce en Perse, etc. Bon état

Artgil · França€ 45,00

COLLECTIFMareMagnum

Palette. N°19 - Printemps 1965

1965Sandoz, 1965. In-8 broché, 36 pages. N°19 - Printemps 1965. Les gravuressur bois japonaises et leurs couleurs. Très bon état.

Artgil · França€ 5,00

DARMON J.E.MareMagnum

Dictionnaire des gravures en couleurs en bistre et en sanguine du XVIIIe siècle des Ecoles Française et Anglaise en circulation dans le commerce des estampes

1929Montpellier, chez Barral, 1929. Grand In-8 broché, 145 pages. Exemplaire numéroté. Très bon état.

Artgil · França€ 50,00

LARAN JeanMareMagnum

Les estampes

1943PUF Que Sais Je ? 1943, In-12 broché, 128 pages. Trés bon état.

Artgil · França€ 3,00

POGGI Antonio César de - FOULIS Chevalier JamesMareMagnum

Relation historique de l'importante SORTIE, exécutée par la garnison de Gibraltar, le 27 novembre 1781, afin de détruire les ouvrages élevés par les Espagnols contre cette forteresse, devant servir d'explication à l'estampe qui représente ce sujet

1793A Londres, chez l'imprimeur J. Smeeton, dans la rue Saint Martin, 1793. In-4 relié plein veau brun, dos lisse à fleurons allégoriques dorés, plats encadrés d'une guirlande de fines branches dorées, gardes de papier marbrés, roulette dorés intérieure, toutes tranches dorées. 38 pages + superbe estampe aquarellée de Antonio Césare de POGGI, dessinateur, peintre d'histoire et éditeur, dépliante au format de 38 x 51 centimètres (40 pouces x 26, mesure du pied d'Angleterre, datée du 25 may 1792, légendes en marge. L'estampe, dessinée sur place en 1783, est d'une très grande finesse, elle a été gravée par Mr. Pouncey, graveur anglais, travail qui a demandé plus de 7 années. En tête d'ouvrage, on trouve la liste des souscripteurs pour l'estampe (Le Roi et la Reine de Grande Bretagne, les noms des Altesses Royales, etc) sur 8 pages, s'en suit un avertissement à la date du 6 mai 1793 de 4 pages, puis "Lettre de Mr. Le Chevalier Foulis, Major de la Place de Gibraltar, sur la SORTIE faite par la Garnison de cette Place le matin du 27 novembre 1781, adressée à M+++.", 10 pages. Ensuite "Description alphabétique de l'Estampe représentant la sortie faite par la Garnison de Gibraltar dans la matinée du 27 novembre 1781", 11 pages . + Un tableau "Disposition et forces du détachement. Brigadier Général Ross". L'ouvrage se termine sur 2 pages de P.S. (post-sciptum), qui contient les remerciements de Mr. de Poggi à ceux qui lui ont apporté aide pour la résalisation de l'estampe. La reliure est un peu frottée, coins émoussés, petits manques de cuir en tête et en queue, l'exemplaire est à grandes marges, ne présente que quelques rousseurs en page de titre sans gravité, l'estampe présente une déchirure sans manque anciennement restaurée avec du papier collant, un petit trou sans manque à une pliure et une tache brune à une pliure en partie supérieure. Le dessin est d'une remarquable finesse. Malgré les petits défauts signalés, cet ouvrage très rare, est en bon état.

Artgil · França€ 1.000,00

Zao Wou KI - Claude ROY ]MareMagnum

Estampages Han

1990Club français du livre 1967. In-4 carré relié toile illustrée de 213 pages. Illustré de 123 reproductions d'estampages. Préface de Zao Wou Ki et Claude Roy. Exemplaire complet de la grande planche dépliante. Exemplaire numéroté. Bon état

Artgil · França€ 40,00

HYMANS HenriMareMagnum

Compositions décoratives et allégoriques des grands Maîtres de toutes les Ecoles reproduites d'après les estampes originales par la photolithographie et accompagnées d'un texte explicatif. Première partie

1900Paris, C. Claesen, sans date, vers 1900. In-plano relié demi-percaline grise, plats cartonnés. Recueil de 48 planches (32 x 54 cm) des Ecoles Françaises, Flamandes, Hollandaises, Bolonaises, Romaine toutes imprimées sur beau papier, légendées et expliquées en regard. Toutes les planches sont à grandes marges, en bel état, sans rousseurs. Les pages de texte imprimées sur papier plus fin présentent des rousseurs éparses. Henri Hymans, né à Anvers, décédé à Bruxelles, lithographe, dirigea le Cabinet des Estampes de la Bibliothèque Royale Belge, puis Conservateur en chef de la même bibliothèque. Reliure modeste, ouvrage peu courant.

Artgil · França€ 200,00

BOURCARD GustaveMareMagnum

Dessins, gouaches, estampes et tableaux du XVIIIe siècle. Guide de l'amateur

1893Paris Damascene Morgand 1893, très fort In-8 relié demi-chagrin noir (reliure récente), plats cartonnés de papier marbré, titre doré en long en dos, couverture conservée. 675 pages. Exemplaire numéroté sur papier vergé à a cuve, N° 313 sur 550, deuxième grand papier. Bel exemplaire, bien relié

Artgil · França€ 150,00

TAILHARDATMareMagnum

Le vagabond

1994- 1994, gravure = 11,5x16cm, Encadré. - Epreuve Artiste monotypée. Signée par l'artiste et datée 11/04/94. Encadrement baguette bois doré et Marie-Louise = 32x40cm Le monotype n'est pas une gravure au sens strict, mais une estampe (uvre obtenue après un pressage manuel ou mécanique). Il s'agit de peindre à l'encre typographique (aussi appelée aqualaque) ou à la peinture à l'huile, ou à la gouache, sur un support non poreux, en métal, plexiglas, Rhodoïd. Le monotype ne peut être numéroté, car, comme son nom l'indique, son tirage est unique. [ENGLISH DESCRIPTION ON DEMAND]

Librairie Feu Follet · França€ 322,00

FORAIN Jean-LouisMareMagnum

"Ne te plains donc pas ! tu pourras y retourner", lithographie signée

1920- s.n., s.l. s.d. (circa 1920), 55x37 hors-carde, 66x47 avec cadre, autre. - Lithograph on thick vélin paper printed in 300 numbered copies and signed in pencil by the artist. [FRENCH VERSION FOLLOWS] Lithographie sur vélin fort tirée à 300 exemplaires numérotés et signés au crayon par l'artiste.

Librairie Feu Follet · França€ 230,00

SIMEON MarioMareMagnum

La Partie de cache-cache. Robe en ruban. (La Gazette du Bon ton, n°1. Année 1921 - Planche 1 )

1921- Lucien Vogel éditeur, Paris 1921, 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 et signée dans la planche par l'auteur en bas à gauche. Gravure originale réalis

Librairie Feu Follet · França€ 81,00

MARTIN CharlesMareMagnum

Le mariage mélancolique. Modes et manières de Torquate. (La Gazette du Bon ton, n°2. Année 1921 - Planche 10 )

1921- Lucien Vogel éditeur, Paris 1921, 19,5x25cm, une feuille. - Original color print, printed on vergé paper, non signed. 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, non-signée. Gravure originale réalisée pour l'illustration de La Gazette du bon ton, l'u

Librairie Feu Follet · França€ 92,00

BENITOMareMagnum

Enfin le voici ! (La Gazette du Bon ton, n°3. Année 1921 - Planche 20 )

1921- Lucien Vogel éditeur, Paris 1921, 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 couleurs tirée sur papier vergé, signée en bas à droite dans la planche. Gravure originale réalisée pour l'illus

Librairie Feu Follet · França€ 69,00

BRISSAUD PierreMareMagnum

Belle journée. Robe d'après-midi, de Jeanne Lanvin. (La Gazette du Bon ton, n°3. Année 1921 - Planche 24 )

Librairie Feu Follet · França€ 81,00

SIMEON FernandMareMagnum

Vous avez vu ? Cette petite. Robe de promenade en Parquetine de Rodier. (La Gazette du Bon ton, n°4. Année 1920 - Planche 24 )

1920- Lucien Vogel éditeur, Paris 1920, 19,5x25cm, une feuille. - Original color print, printed on vergé paper, the signature does not let identify the artist. 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, la signature ne permet pas d'identifier l'artiste. Gravure orig