ROEDEL

First edition on ordinary paper for each volume.
Half-red sheep binding, smooth spine decorated with triple gilt fillets, pebbled paper boards, marbled endpapers and pastedowns, color illustrated covers by Adolphe Willette and Auguste Roedel preserved, speckled edges.
Poetry by Emile Goudeau, George Auriol, Léon Durocher, Prosper Marius, Victor Meusy, Albert Tinchant, Maurice Vaucaire for the first volume; poetry by Henri Bernard, Maurice Boukay, Théodore Botrel, René Dubreuil, Emile Goudeau, Victor Meusy and Raoul Gineste for the second.
Work illustrated with 17 original lithographs hors-texte by Adolphe Willette for the first volume, and 15 original lithographs by Auguste Roedel for the second.
Some rubbing at head and foot of spine.

Rare original lithograph printed in colors, executed by Auguste Roedel for L'Estampe Moderne, series number 13 published in May 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's blind stamp representing a child's profile in the lower margin, numbered stamp of the luxury printing on verso, slight trace of the stamp from the previous engraving on recto; engraving preceded by a tissue guard captioned with the artist's name, the title, a poem and a text, lacking at head without touching the text.
Lithograph inspired by a poem by P. Dupont entitled Les fraises, reproduced on the tissue guard of the print.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints is printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provides for a confidential printing of very great luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomania". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art in the same way as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original lithograph, executed by Auguste Roedel for L'Estampe Moderne, series number 13 published in May 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe issue on the verso, pale marginal foxing.
Lithograph inspired by a poem by P. Dupont entitled Les fraises.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late nineteenth century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
Lithograph inspired by a poem entitled Les Fraises by P. Dupont, an extract of which is reproduced on the print's tissue guard.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.

Original color lithograph executed specially by the artist for L'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
Very handsome copy.
Published by Ch. Masson and H. Piazza, the two years of L'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.