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19179 results
  1. Lettre autographe datée et signée remerciant son correspondant
    Pierre BENOIT
    Lettre autographe datée et signée remerciant son correspondant
    Ciboure 28 Février 1961|13.50 x 20 cm|une page
    Autograph letter signed by Pierre Benoit, on letterhead from his property in Ciboure, 14 lines in black ink.
    Central fold marks, perforations due to filing in a binder having caused the absence of the first letter of Paris on the fourth line of the letter.
    Pierre Benoit recalls the recent passing of his wife Marcelle (died on May 28, 1960): "Il y a neuf mois aujourd'hui que la pauvre Marcelle s'en est allée" ["It has been nine months today since poor Marcelle passed away"] and hopes to meet his friend during his next visit to Paris in March.
    €120
  6. "Vous me rappelez, en effet, des temps déjà bien anciens, mais que ce qui a fini n'a pu effacer de ma mémoire"
    Charles-Augustin SAINTE-BEUVE
    "Vous me rappelez, en effet, des temps déjà bien anciens, mais que ce qui a fini n'a pu effacer de ma mémoire"
    Autograph letter, dated and signed, congratulating his correspondent on the quality of his latest work
    s. l. 15 juillet1860|13.50 x 21 cm|une page et demi sur un double feuillet
    Autograph letter signed by Sainte-Beuve, 1 and a half pages on a double sheet. 25 lines in black ink.
    "J'ai été très sensible, cher monsieur, à votre bon français et à l'envoi du très sage et instructif volume qui en est la cause. Vous me rappelez, en effet, des temps déjà bien anciens, mais que ce qui a fini n'a pu effacer de ma mémoire : car, à vous parler vrai, quoi qu'il y ait bien de l'espace et bien de l'intervalle d'aujourd'hui à ce temps-ci, il me paraît souvent qu'il y a du vide : et le tourbillon de la vie littéraire dont vous me parlez, je ne le ressens guère. Ce qui me frappe, c'est plutôt le contraire du tourbillon, c'est à dire l'isolement, la disparition ou le peu de mouvement de groupe. On se survit et l'on traîne un peu : je parle du moins pour moi, aussi n'en suis-je que plus sensible... [...] de bons témoignages comme le vôtre qui attestent que le passé n'est pas oublié et qu'il a réellement existé. Croyez-moi, je vous prie tout à vous. Sainte-Beuve." ["I have been very touched, dear sir, by your good French and by the sending of the very wise and instructive volume which is the cause of it. You remind me, indeed, of times already quite ancient, but which what has ended could not erase from my memory: for, to speak truly to you, although there is much space and much interval from today to that time, it often seems to me that there is emptiness: and the whirlwind of literary life of which you speak to me, I hardly feel it. What strikes me is rather the contrary of the whirlwind, that is to say isolation, the disappearance or the little group movement. One survives oneself and drags on a little: I speak at least for myself, so I am all the more sensitive... [...] to good testimonies like yours which attest that the past is not forgotten and that it really existed. Believe me, I beg you entirely yours. Sainte-Beuve."]








    €450
  7. "Le pire que l'on puisse faire à un juge, c'est lui enlever toute autorité devant les autres et crois moi il l'a bien compris" ["The worst thing you can do to a judge is to remove all his authority in front of others and believe me he understood it well"]
    "j'ai eu la visite du juge Madre. Tu aurais rigolé, car il a eu droit à tout mon vocabulaire..."
    Jacques MESRINE
    "j'ai eu la visite du juge Madre. Tu aurais rigolé, car il a eu droit à tout mon vocabulaire..."
    Beautiful autograph letter dated and signed of revolt from Jacques Mesrine written from the prison of Fleury-Mérogis addressed to his companion Jeanne Schneider
    Fleury-Mérogis 2 Décembre1976|21 x 29.50 cm|une page recto verso
    Autograph letter dated and signed by Jacques Mesrine, dated Thursday December 2, 1976, 65 lines in blue ink on one recto-verso page addressed to his love at the time, Jeanne Schneider, thanks to whom the manuscript of Instinct de mort was discreetly smuggled out of prison.
    Jacques Mesrine, then incarcerated at Fleury-Mérogis prison, feels unwell and helpless far from his companion and from all human warmth:


    "Ce soir je suis très mal foutu... il est 19 heures et je me couche juste après la fin de ta lettre... de rien de grave... juste une grande fatigue (à rien faire)" ["Tonight I feel really awful... it's 7 PM and I'm going to bed just after finishing your letter... nothing serious... just very tired (from doing nothing)"]




    As a good father, Jacques Mesrine rejoices in his daughter's happiness: "Je suis heureux que sa veste lui plaise... de plus c'est la mode... son Loïc chéri ne va plus la reconnaître..." ["I'm happy that she likes her jacket... plus it's fashionable... her dear Loïc won't recognize her anymore..."] and shows himself neither surprised nor more than amused that his daughter wants to embrace the Jewish religion:


    "Comme cela la puce veut prendre la religion juive... encore une idée à elle... oui je sais elle a fait croire à ses copains qu'elle était juive... car eux l'étaient...si cela l'amuse je la laisse libre... mais ça démontre aussi un dédoublement de personnalité..." ["So the little one wants to take up the Jewish religion... another one of her ideas... yes I know she made her friends believe she was Jewish... because they were... if it amuses her I leave her free... but it also shows a split personality..."]




    Public enemy No. 1 evokes with a certain pride his latest confrontation with his judge, a fierce revenge of the insubordinate against the penitentiary universe that crushes men:


    "Aujourd'hui j'ai eu la visite du juge Madre. Tu aurais rigolé, car il a eu droit à tout mon vocabulaire... il en perdait la parole (j'ai pris mon pied (sic)) A un moment il me dit "mais c'est quand même moi qui commande... Réponse de ton bibi : "Ici pédé" c'est moi ton patron". Il était vert et les flics se marraient comme des perdus." ["Today I had a visit from Judge Madre. You would have laughed, because he got my full vocabulary... he was speechless (I had a ball) At one point he tells me 'but I'm still the one in charge... Your boy's response: 'Here, faggot, I'm your boss.' He was green and the cops were laughing like crazy."]




    and against all submission to any form of power or violence:




    "Le pire que l'on puisse faire à un juge, c'est lui enlever toute autorité devant les autres et crois moi il l'a bien compris. Il était venu avec 5 anti-commandos... L'un avait la bombe de gaz à la main... au cas où? Loin d'être impressionné... cela me rend con..." ["The worst thing you can do to a judge is to remove all his authority in front of others and believe me he understood it well. He had come with 5 anti-commandos... One had the gas canister in his hand... just in case? Far from being impressed... it makes me crazy..."]




    The eternal rebel ends his letter with a beautiful testimony of tenderness for his beloved:


    "Là ma puce je vais prendre mon lit en marche...Ton vieux voyou pose ses lèvres sur le tiennes en une douce caresse d'amour. je t'adore petite fille... car nous sommes réellement le "couple" et plus encore. Bonne nuit chaton." ["There my little one I'm going to take to my bed... Your old rogue places his lips on yours in a sweet caress of love. I adore you little girl... because we are truly the 'couple' and even more. Good night kitten."]




    Rare and very fine letter by Jacques Mesrine full of revolt and insubordination.

    €1,800
  8. Clos joli. Etudes de fleurs et fruits
    Jacques ZOUBALOFF
    Clos joli. Etudes de fleurs et fruits
    Charles Moreau|Paris 1929|32 x 35.50 cm|2 volumes en reliures de l'éditeur sous étui
    First edition printed in 325 copies, ours unnumbered.
    Publisher's binding in half sky blue flexible boards, smooth and unlettered spine in sand-colored cloth, a vignette representing a rose glued to the center of the first board of the first volume, a vignette representing a pear at the center of the first board of the second volume.
    Work illustrated with 100 watercolors hors-texte reproduced by Daniel Jacomet.
    Introduction by Guillaume Janneau.
    Handsome copy.
    €450
  10. Histoire de Gil Blas de Santillane
    Alain-René LESAGE
    Histoire de Gil Blas de Santillane
    Par les libraires associés|A Paris 1747|10 x 17 cm|4 volumes reliés
    Definitive, important edition, revised by the author, and on which all future editions will be based. It should not be confused with the counterfeit (which can be distinguished by some differences) published on the same date and which is only a reprint of the first editions published in 1715 (first 2 volumes), 1724 (third volume) and 1735 (fourth volume) where the figures are reversed and of rather mediocre printing (thus the canon in the first figure appears on the right whereas he should be on the left).
    This edition is rare and sought after. "This edition, which has become uncommon, presents numerous corrections and considerable additions by the author, which amount to no less than a hundred pages; it should therefore be regarded as the first good edition of Le Sage's masterpiece." Brunet, III, 1006. Title pages in red and black. Headcap of volume 1 partly lacking, that of volume II worn, revealing the headband. A small lack at the head of volume IV. Upper joint of volume IV split at tail. Narrow incipient crack at lower joint of volume I. Small lack to volume label of volume IV. Some corners slightly bumped. Overall relatively fresh, the first leaves of each volume with some pale foxing or yellowing. Good copy.
    The illustration comprises 32 figures re-engraved from the originals published in the 3 first editions.
    Full marbled and glazed calf binding. Smooth spine decorated. Red morocco title label, red morocco volume labels.
    It is now perfectly established that one cannot accuse Lesage's immortal masterpiece, the last baroque fire of the picaresque novel, of plagiarism; if Lesage drew his material from elsewhere, it nonetheless remains that Gil Blas is an original and personal work. We find there the misadventures of a picaro, as roguish as possible, who through his multiple encounters creates a satirical portrait of contemporary society.




    €900
  12. Lettre autographe datée et signée adressée au magnat de la presse Arthur Meyer à qui il recommande Louis de Robert "... vous trouveriez sans doute en lui un excellent rédacteur pour "Le Gaulois"
    Émile ZOLA (Arthur MEYER)
    Lettre autographe datée et signée adressée au magnat de la presse Arthur Meyer à qui il recommande Louis de Robert "... vous trouveriez sans doute en lui un excellent rédacteur pour "Le Gaulois"
    Paris 5 Avril 1893|13.50 x 20.50 cm|une page et demie

    Autograph letter dated and signed by Emile Zola, 23 lines in black ink on a page and a half, addressed to press baron Arthur Meyer
    Folds inherent to postal delivery.
    Emile Zola intervenes with Arthur Meyer, proprietor of the high-circulation newspaper "Le Gaulois", on behalf of his friend Louis de Robert: "Vous sentirez comme moi que c'est un garçon d'avenir, et je suis convaincu que vous l'utiliserez... Je le connais et je désire qu'il travaille." ["You will feel as I do that he is a young man with a future, and I am convinced that you will make use of him... I know him and I want him to work."] in whom he recognizes a talented writer: "Me permettrez-vous de vous recommander un de mes jeunes confrères Louis de Robert, dont j'ai lu les chroniques charmantes. Je crois que vous devriez l'encourager, le mettre à l'essai, car vous trouveriez en lui un excellent rédacteur pour "Le Gaulois"..." ["May I recommend to you one of my young colleagues Louis de Robert, whose charming chronicles I have read. I believe you should encourage him, put him to the test, for you would find in him an excellent editor for 'Le Gaulois'..."]

    €1,500
  16. The lady of the lake illustrated by photography
    Walter SCOTT, George Washington WILSON
    The lady of the lake illustrated by photography
    A. W. Benett|London 1865|15.50 x 20 cm|relié
    One of the first books illustrated with photography, rare. 14 albumen photographs mounted, under tissue guards, of Scottish views and landscapes including as frontispiece the Gothic ruined tomb of Walter Scott. Each photograph in square format measuring 9x9cm. An edition had appeared in 1863 with only 9 photographs published by Adam and Charles Black.
    Publisher's binding. Midnight blue shagreen-grained cloth boards richly decorated. Smooth spine stamped with a special plate featuring monastic ornaments and sword around which verses from the poem are entwined. Large ornamental plate on covers with the Lady of the Lake in a central medallion, a unicorn and a stag. Edges gilt. Rubbing to headcaps. The 2 lower corners bumped. Traces of discoloration to the lower right corner of upper and lower covers. Some occasional light foxing to an otherwise fresh copy. Handsome copy in its rare publisher's boards.
    The Lady of the Lake refers to Arthurian myth and legends and tells the story of Scotland. The poem was first published in 1810 and had great impact on Romantic literature. The photographs are the work of 2 photography pioneers: G. W. Wilson and Thomas Ogle, and are of incredible quality.

    €850
  17. “Because I also want success, I am extremely material in my wishes for those I love and I wish them every pleasure from the highest to the crudest.”
    "je leur souhaite toutes les voluptés depuis les plus hautes jusqu'aux plus grossières"
    Marcel PROUST (à René PETER)
    "je leur souhaite toutes les voluptés depuis les plus hautes jusqu'aux plus grossières"
    Signed autograph letter addressed to René Peter
    s. l. mardi (25 octobre 1904)|12.60 x 20.40 cm|12 pages sur 3 bifeuillets
    Autograph letter signed by Marcel Proust, addressed to René Peter. Twelve pages written in black ink on three bifolia framed in black.
    Tears at the ends along the folds of the bifolia, not affecting the text.
    Published in Kolb, IV, n°168.

    A very long letter from Proust, full of innuendo, to the playwright René Peter. Praising Peter's success, Proust confesses to his own vanity as a writer and his literary ambitions. He subtly lets his jealousy for Peter's mistress shine through and declares his absolute devotion to Reynaldo Hahn. This is one of the first letters he sends to his childhood friend after recently reconnecting with him.
    €12,000
  23. Lettre autographe datée et signée à propos de la constitution d'une Ligue Internationale des écrivains contre le fascisme
    Charles VILDRAC (à Henri BARBUSSE)
    Lettre autographe datée et signée à propos de la constitution d'une Ligue Internationale des écrivains contre le fascisme
    Paris 5 Janvier 1935|21 x 18.50 cm|une page sur un feuillet

    Autograph letter dated and signed by Charles Vildrac to Henri Barbusse; one page with his monogram blind-stamped in the upper left corner and written in black ink on one leaf, 18 lines.
    Postal folds, a small tear at the foot of the letter without any damage to the text.
    Charles Vildrac congratulates Henri Barbusse for his militant devotion and dynamism: "J'ai pris connaissance du Manifeste appel pour une ligue internationale des écrivains et j'y adhère sans réserves en applaudissant à votre généreuse initiative." ["I have read the Manifesto calling for an international league of writers and I join it without reservation, applauding your generous initiative."] while criticizing the silence or indifference of certain colleagues in the face of the dangerous rise of fascist and Nazi perils: "Ne pensez-vous pas que l'on pourrait solliciter l'adhésion d'une quantité d'écrivains qui se sont abstenus de toute réaction publique devant les événements... à leur signifier notre opposition à leur attitude ?" ["Don't you think we could solicit the support of a number of writers who have abstained from any public reaction to events... to signify our opposition to their attitude?"]

    €250
  24. "Vous savez que je vous appartiens tête, coeur, et main & que toutes les différences d'opinion rendent l'amitié plus vive comme les contrastes passionnent l'amour."
    Jules BARBEY D'AUREVILLY
    "Vous savez que je vous appartiens tête, coeur, et main & que toutes les différences d'opinion rendent l'amitié plus vive comme les contrastes passionnent l'amour."
    Autograph letter dated and signed addressed to his friend Jean-Marie Dargaud
    s. l. 22 Mars 1852|13.50 x 20.50 cm|une feuille
    Fine autograph letter dated and signed by Jules Barbey d'Aurevilly addressed to historian Jean-Marie Dargaud, 13 lines in black ink.
    Creases inherent to folding for posting.
    Jules Barbey d'Aurevilly shows great tact towards his friend, also expressing all his affection: "Je veux vous épargner, en allant, sous peu de jours, vous voir chez vous, une course longue et peut-être inutile... On ne me voit que le matin et encore les trois premiers jours de la semaine. J'irai donc vous voir." ["I want to spare you, by going to see you at your home in a few days, a long and perhaps unnecessary journey... I can only be seen in the morning and only on the first three days of the week. I will therefore come to see you."]














    €800
  36. Journal - Ce qui reste de jour 1966-1972
    Julien GREEN
    Journal - Ce qui reste de jour 1966-1972
    Plon|Paris 1972|13 x 20 cm|relié
    First edition, one of 28 copies on Madagascar paper from Navarre paper mills, deluxe copy.
    Half-binding in glazed brown box calf with bands, smooth spine with six compartments separated by gilt fillets and decorated with diagonal applications of glazed brown and ivory box calf, gilt date at foot of spine, light grey kromekote paper boards, covers and spine preserved, top edge gilt on witness, slipcase with brown glazed box calf borders, binding signed by Jean-Paul Miguet.
    Superb copy very elegantly bound by Jean-Paul Miguet.



    €2,300
  37. Autour du continent latin avec le "Jules Michelet"
    Charles MANGIN
    Autour du continent latin avec le "Jules Michelet"
    Pierre Roger & Cie|Paris 1923|14.50 x 19.50 cm|broché
    First edition, one of 130 copies on laid Arches paper, ours specially printed for the President of the French Republic Alexandre Millerand, the only deluxe copies.
    Work illustrated with 18 plates and 1 map.
    Library shelf label pasted at foot of endpaper.
    Autograph inscription signed by General Charles Mangin to President of the Republic Alexandre Millerand on the shaded endpaper.
    €250
  38. Poésies inédites - L'exemplaire d'Alphonse de Lamartine
    Marceline DESBORDES-VALMORE
    Poésies inédites - L'exemplaire d'Alphonse de Lamartine
    E. Dentu • Imprimerie de Jules Fick|Genève [Geneva] 1860|15 x 23 cm|relié
    First edition published by Gustave Revilliod.
    Full bottle-green morocco binding, spine slightly darker decorated with compartments framed by quintuple blind fillets, date at tail, boards with frames of ten blind fillets, morocco doublure in water-green morocco framed with gilt fillet and bottle-green morocco listel, watered green silk endpapers, gilt-ruled edges, tooled headcaps, original wrappers preserved, gilt edges on deckled paper, slipcase lined with felt and edged in bottle-green morocco, binding signed by A & R Maylander.
    Autograph inscription from the publisher to Monsieur [Alphonse] de Lamartine.
    Superb copy, that of Alphonse de Lamartine.
    €2,000
  39. "Bonne chance ! Nous vous suivons du coeur. J'applaudirai de loin..."
    Alphonse de LAMARTINE
    "Bonne chance ! Nous vous suivons du coeur. J'applaudirai de loin..."
    Autograph letter dated and signed about a journalist friend with whom he is happy to work
    Mâcon 26 Décembre 1846|13.50 x 20.50 cm|une page sur un feuillet
    Autograph letter dated and signed by Alphonse de Lamartine; one page with his monogram blind-stamped in the upper left corner and written in black ink on one leaf, 15 lines.
    Folds inherent to mailing.
    In this letter, Lamartine shows his happiness to collaborate with their mutual friend's journal and confirms a financial agreement.



    €300
  40. "bien qu'il n'y ait pas de paroles écrites entre nous, votre amitié m'apportait toujours sa même force et sa même joie..."
    Renée GUILLOUX
    "bien qu'il n'y ait pas de paroles écrites entre nous, votre amitié m'apportait toujours sa même force et sa même joie..."
    A touching autograph letter signed about the friendship that Renée and Louis Guilloux, still convalescent, have for their correspondent
    Angers 25 Septembre 1929|13.50 x 20.50 cm|quatre pages sur un feuillet double
    Autograph letter dated and signed by Renée Guilloux about friendship that transcends and sublimes human relationships, 80 lines written in black ink on four pages.
    Folds inherent to mailing, small tears at foot without any damage to the text.
    For Renée Guilloux, the friendship she feels for her correspondent dominates distance and silence: "... est-ce que les mots ont su dire la joie des coeurs..." ["have words been able to express the joy of hearts..."] and momentary disagreements: "Mais tous ces mois, toutes ces années nous pesaient douloureusement. J'avais l'impression que vous vous étiez mis d'un seul coup à parler très vite avec beaucoup d'agitation dans une langue qui m'était étrangère... mais je savais que ce n'était qu'un moment et qu'après nous reprendrions notre conversation rentable." ["But all these months, all these years weighed on us painfully. I had the impression that you had suddenly started speaking very quickly with great agitation in a language that was foreign to me... but I knew it was only a moment and that afterwards we would resume our profitable conversation."]
    Despite life's vicissitudes, Louis Guilloux and his wife have always shown confidence in the brotherhood that unites them above all: "J'attendais votre retour dans la certitude, dans la paix et bien qu'il n'y ait pas de paroles écrites entre nous, votre amitié m'apportait toujours sa même force et sa même joie..." ["I awaited your return with certainty, in peace and although there were no written words between us, your friendship always brought me the same strength and the same joy..."] and in the serenity acquired after so many ordeals endured: "Vous nous avez trouvés transformés dites-vous, grandis... cette paix c'est notre conquête la plus belle... après les inquiétudes et les souffrances..." ["You found us transformed, you say, grown... this peace is our most beautiful conquest... after the anxieties and sufferings..."]
    Renée Guilloux praises this radiating peace that she shares with her friend: "Cette paix qui est en nous, elle est aussi vôtre, cher ami, et vous avez grandi comme nous... je pense au rêve de Don Quichotte, aux paroles qu'il echange avec Dulcinée. Elles sont pleines de cette lumière." ["This peace that is in us, it is also yours, dear friend, and you have grown like us... I think of Don Quixote's dream, of the words he exchanges with Dulcinea. They are full of this light."]
    Finally, she is reassured by her husband's health which is improving and which allows him to return to his writing work.
    €150
  42. "La soirée au théâtre" Smoking et cape "Priola", de Larsen (pl.57, La Gazette du Bon ton, 1922 n°9)
    Pierre MOURGUE (LARSEN)
    "La soirée au théâtre" Smoking et cape "Priola", de Larsen (pl.57, La Gazette du Bon ton, 1922 n°9)
    Lucien Vogel éditeur|Paris 1922|18 x 24 cm|une double page
    Original color print, printed on laid paper, signed at the bottom right of the plate.
    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 bloom of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine 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 created using the metal stencil technique, heightened in colors and some outlined 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 observed, there existed no fashion journal that was 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 thus 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 joined 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 highlighted and sublimated 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 idea that the illustrator had of the fashion of the day.
    La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic excellence and visual unity, it brought together for the first time the great talents of the worlds 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 several years earlier: Vogue magazine.
    Before the illustration on the last page of the double sheet, text by Caylus "Le bois dans la mode".

    €80
  43. Hermine et velours imprimé et lamé de métal, tissu de Bianchini (Croquis N°I, La Gazette du Bon ton, 1922 n°9)
    DAVID (BIANCHINI-FERIER)
    Hermine et velours imprimé et lamé de métal, tissu de Bianchini (Croquis N°I, La Gazette du Bon ton, 1922 n°9)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper.
    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 bloom of art deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine 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 created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides 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 truly artistic fashion journal representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because in fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel therefore brings 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 such as George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly 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 calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create 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 provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
    La Gazette du bon ton is a decisive stage in fashion history. Combining aesthetic requirements and plastic unity, it brings together for the first time the great talents from the worlds of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
    Taken over in 1920 by Condé Montrose Nast, La 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.
    On the verso of the illustration, 10 figures in black representing garters and suspenders.

    €100
  44. Loutre et velours imprimé, tissu de Bianchini (Croquis N°II, La Gazette du Bon ton, 1922 n°9)
    DAVID (BIANCHINI-FERIER)
    Loutre et velours imprimé, tissu de Bianchini (Croquis N°II, La Gazette du Bon ton, 1922 n°9)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper.
    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 bloom of art deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine 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 created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides 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 truly artistic fashion journal representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because in fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel therefore brings 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 such as George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly 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 calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create 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 provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
    La Gazette du bon ton is a decisive stage in fashion history. Combining aesthetic requirements and plastic unity, it brings together for the first time the great talents from the worlds of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
    Taken over in 1920 by Condé Montrose Nast, La 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.
    On the verso of the illustration, 5 figures in black representing feather fans, lace, etc.

    €100
  45. Loutre et broché et lamé, tissu de Bianchini (Croquis N°III, La Gazette du Bon ton, 1922 n°9)
    DAVID (BIANCHINI-FERIER)
    Loutre et broché et lamé, tissu de Bianchini (Croquis N°III, La Gazette du Bon ton, 1922 n°9)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper, signed at bottom right.
    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 at the height of the Art Deco movement.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "were addressed to 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 created using the metal stencil technique, heightened in colors and some highlighted with gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, 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 that was 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 is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel therefore brings 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly 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, unknown for the most part when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create 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 provide exclusive models for each issue. Nevertheless, some of the illustrations do not feature any 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 excellence and plastic unity, it brings together for the first time the great talents from the worlds of arts, letters and fashion and establishes, 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.
    On the verso of the illustration, 5 figures in black representing the shoe, models by Perugia.

    €100
  46. Zibeline et matelassé de soie, tissu de Bianchini (Croquis N°IV, La Gazette du Bon ton, 1922 n°9)
    DAVID (BIANCHINI-FERIER)
    Zibeline et matelassé de soie, tissu de Bianchini (Croquis N°IV, La Gazette du Bon ton, 1922 n°9)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper, signed at bottom left of the plate.
    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 at the height of the Art Deco movement.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "were addressed to 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 created using the metal stencil technique, heightened in colors and some highlighted with gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, 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 that was 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 is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel therefore brings 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly 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, unknown for the most part when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create 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 provide exclusive models for each issue. Nevertheless, some of the illustrations do not feature any 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 excellence and plastic unity, it brings together for the first time the great talents from the worlds of arts, letters and fashion and establishes, 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.
    On the verso of the illustration, 6 figures in black representing the button in fashion.

    €100
  47. Petit gris et satin broché, tissu de Bianchini (Croquis N°VII, La Gazette du Bon ton, 1922 n°9)
    DAVID (BIANCHINI-FERIER)
    Petit gris et satin broché, tissu de Bianchini (Croquis N°VII, La Gazette du Bon ton, 1922 n°9)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper.
    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.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 « s'adressent aux bibliophiles et aux mondains esthètes » ["address themselves to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine 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 begins in 1912 when Lucien Vogel, man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then « Art, modes et frivolités » ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: « 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. » ["In 1910, he observes, there was no fashion journal that was 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, mai 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus assembled 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 joined 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, unknown for the most part 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 era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
    La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic requirements and plastic unity, it brought together for the first time the great talents of the worlds 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, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the « petit journal mourant » ["little dying journal"] that Nast had bought a few years earlier: Vogue magazine.
    On the verso of the illustration, 4 black figures representing earrings.

    €100
  48. Hermine et lamé argent et or, tissu de Bianchini (Croquis N°VIII, La Gazette du Bon ton, 1922 n°9)
    DAVID (BIANCHINI-FERIER)
    Hermine et lamé argent et or, tissu de Bianchini (Croquis N°VIII, La Gazette du Bon ton, 1922 n°9)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper, signed at the bottom right of the plate.
    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.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 « s'adressent aux bibliophiles et aux mondains esthètes » ["address themselves to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine 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 begins in 1912 when Lucien Vogel, man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then « Art, modes et frivolités » ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: « 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. » ["In 1910, he observes, there was no fashion journal that was 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, mai 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus assembled 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 joined 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, unknown for the most part 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 era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
    La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic requirements and plastic unity, it brought together for the first time the great talents of the worlds 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, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the « petit journal mourant » ["little dying journal"] that Nast had bought a few years earlier: Vogue magazine.
    On the verso of the illustration, 8 black figures representing the use of artificial flowers.

    €100
  49. Manteau d'antilope et d'écureuil (Croquis N°L, La Gazette du Bon ton, 1922 n°7)
    DAVID
    Manteau d'antilope et d'écureuil (Croquis N°L, La Gazette du Bon ton, 1922 n°7)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper, signed lower right on the plate.
    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 during the height of the Art Deco movement.
    The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine 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 created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, 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 truly artistic fashion journal representative of the spirit of its time. I therefore thought of creating 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, no. 133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus assembled 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 feature no real model, but only the illustrator's idea of the fashion of the day.
    La Gazette du bon ton represents a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents from the worlds 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, La 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.


    €80
  50. Manteau de suède bordé de zibeline (Croquis N°LV, La Gazette du Bon ton, 1922 n°7)
    DAVID
    Manteau de suède bordé de zibeline (Croquis N°LV, La Gazette du Bon ton, 1922 n°7)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper, signed lower right on the plate.
    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 during the height of the Art Deco movement.
    The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine 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 created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, 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 truly artistic fashion journal representative of the spirit of its time. I therefore thought of creating 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, no. 133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus assembled 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 feature no real model, but only the illustrator's idea of the fashion of the day.
    La Gazette du bon ton represents a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents from the worlds 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, La 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.


    €80
  51. La taupe - Manteau en taupe et peau de chamois (Croquis N°LIII, La Gazette du Bon ton, 1922 n°7)
    DAVID
    La taupe - Manteau en taupe et peau de chamois (Croquis N°LIII, La Gazette du Bon ton, 1922 n°7)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, on laid paper, signed lower left of the plate.
    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 at the height of the Art Deco movement.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 notably illustrated with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were addressed to bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine 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 with gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides 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: "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." ["In 1910, he observes, there was no truly artistic fashion journal representative of the spirit of its time. So I was 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 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 joined 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 later 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 era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of the fashion of the day.
    La Gazette du bon ton marks a decisive stage in the history of fashion. Combining aesthetic demands and plastic unity, it brought together for the first time the great talents from the worlds 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, La 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.


    €80
  52. Nemrod ou le départ pour la chasse, Costume de chasse de Larsen (La Gazette du Bon ton, 1922 n°8)
    Pierre MOURGUE (LARSEN)
    Nemrod ou le départ pour la chasse, Costume de chasse de Larsen (La Gazette du Bon ton, 1922 n°8)
    Lucien Vogel éditeur|Paris 1922|18 x 24 cm|une double page
    Original color print, on laid paper, signed lower right of the plate.
    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 at the height of the Art Deco movement.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 notably illustrated with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were addressed to bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine 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 with gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides 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: "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." ["In 1910, he observes, there was no truly artistic fashion journal representative of the spirit of its time. So I was 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 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 joined 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 later 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 era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of the fashion of the day.
    La Gazette du bon ton marks a decisive stage in the history of fashion. Combining aesthetic demands and plastic unity, it brought together for the first time the great talents from the worlds 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, La 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.
    Before the illustration on the last page of the double sheet, text "Pour Cendrillon" ["For Cinderella"], woman's shoe.

    €100
  53. Velours et lamé (La Gazette du Bon ton, 1922 n°8)
    George BARBIER, VAUDREUIL
    Velours et lamé (La Gazette du Bon ton, 1922 n°8)
    Lucien Vogel éditeur|Paris 1922|19.50 x 24.50 cm|une feuille
    Text on double page by Vaudreuil illustrated with four original color prints finely heightened with palladium, printed on laid paper, signatures of George Barbier on the plate.
    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 at the height of the Art Deco movement.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine 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 created using the metal stencil technique, heightened in colors and some outlined in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, a man of the world and fashion - he had already participated in the magazine Femina - decides 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 that was truly artistic and representative of the spirit of its time. I therefore thought of creating 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 is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus brings 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly come 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 calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
    The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
    La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic demand and plastic unity, it brings together for the first time the great talents of the world of arts, letters and fashion and imposes, 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.

    €120
  54. La Citröen et les sports - L'aviation 10 HP. Torpédo-sports (La Gazette du Bon ton, 1922 n°10)
    Mario SIMON, Marcel ASTRUC
    La Citröen et les sports - L'aviation 10 HP. Torpédo-sports (La Gazette du Bon ton, 1922 n°10)
    Lucien Vogel éditeur|Paris 1922|19.50 x 24.50 cm|une feuille
    Text "Flacons" on double page by Marcel Astruc illustrated with five original colored drawings in the text by Mario Simon.
    Original print by Mario Simon on the last page of the double sheet.
    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 at the height of the Art Deco movement.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine 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 created using the metal stencil technique, heightened in colors and some outlined in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, a man of the world and fashion - he had already participated in the magazine Femina - decides 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 that was truly artistic and representative of the spirit of its time. I therefore thought of creating 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 is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus brings 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly come 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 calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
    The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
    La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic demand and plastic unity, it brings together for the first time the great talents of the world of arts, letters and fashion and imposes, 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.

    €120
  55. "L'homme du soir". Nouveau manteau de soirée de Kriegck (La Gazette du Bon ton, 1922 n°10)
    BENITO (RODIER)
    "L'homme du soir". Nouveau manteau de soirée de Kriegck (La Gazette du Bon ton, 1922 n°10)
    Lucien Vogel éditeur|Paris 1922|19.50 x 24.50 cm|une double page
    Original colour print, printed on laid paper, signed at bottom left of the plate.
    On a double leaf, text by Celio "Arrangements de coiffures" ["Hair arrangements"] illustrated with 8 sketches in the text by Benito.
    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 during the full flowering of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 colour plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "s'adressent aux bibliophiles et aux mondains esthètes" ["were addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine 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 produced using the metal stencil technique, enhanced in colours and some highlighted in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides 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" ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: "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." ["In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought 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 is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel therefore brings 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly 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, unknown for the most part when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
    The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
    La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and bold, 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 will largely inspire the new composition and aesthetic choices of the "petit journal mourant" ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.

    €120
  56. "Automne ou la chasse dans les bois". Costume de chasse de Larsen (La Gazette du Bon ton, 1922 n°7)
    Helen SMITH (RODIER)
    "Automne ou la chasse dans les bois". Costume de chasse de Larsen (La Gazette du Bon ton, 1922 n°7)
    Lucien Vogel éditeur|Paris 1922|19.50 x 24.50 cm|une double page
    Original colour print, printed on laid paper, signed at bottom left of the plate.
    On a double leaf, text by Georges Armand Masson "Le bain des enfants" ["Children's bath"] illustrated with 5 sketches in the text by Helen Smith.
    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 during the full flowering of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 colour plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "s'adressent aux bibliophiles et aux mondains esthètes" ["were addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine 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 produced using the metal stencil technique, enhanced in colours and some highlighted in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides 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" ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: "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." ["In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought 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 is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel therefore brings 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly 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, unknown for the most part when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
    The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
    La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and bold, 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 will largely inspire the new composition and aesthetic choices of the "petit journal mourant" ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.

    €120
  57. L'hermine - Veste de loutre garnie d'hermine (Croquis N°LVI, La Gazette du Bon ton, 1922 n°7)
    DAVID
    L'hermine - Veste de loutre garnie d'hermine (Croquis N°LVI, La Gazette du Bon ton, 1922 n°7)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper.
    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 bloom of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton appeared 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 "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used 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, 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, father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the editor-in-chief's words: "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." ["In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought 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 magazine's success was immediate, not only in France, but also in the United States and South America.
    Originally, Vogel 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 joined 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 period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature 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 worlds 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 "little dying journal" that Nast had bought a few years earlier: Vogue magazine.


    €90
  60. Bénédictine-Bernardine réformée de Port-Royal (Croquis N°I, La Gazette du Bon ton, 1922 n°10)
    DAVID
    Bénédictine-Bernardine réformée de Port-Royal (Croquis N°I, La Gazette du Bon ton, 1922 n°10)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper, signed at the bottom right of the plate.
    A tiny tear in the right margin of the plate without damage to the illustration.
    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 bloom of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 2,000 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 fine 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 created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides 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: "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." ["In 1910, he observes, there was no fashion magazine that was 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 magazine's success is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus assembled 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly 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 later become emblematic and sought-after artistic figures. It is these same illustrators who create 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 provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
    La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic excellence and plastic unity, it brings together for the first time the great talents of the world of arts, letters and fashion and imposes, through this alchemy, a completely new image of women, 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 magazine" that Nast had bought a few years earlier: Vogue magazine.
    On the verso of the illustration, 5 figures in black "Ombrelles pour l'été qui vient" ["Parasols for the coming summer"].


    €90
  61. Prélat de petit manteau (Rome) (Croquis N°V, La Gazette du Bon ton, 1922 n°10)
    DAVID
    Prélat de petit manteau (Rome) (Croquis N°V, La Gazette du Bon ton, 1922 n°10)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color engraving, printed on laid paper, signed lower right on the plate.
    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 during the flourishing of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "s'adressent aux bibliophiles et aux mondains esthètes" ["are addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu "La Gazette du bon ton" ["La Gazette du bon ton"] in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The engravings are produced using the metallic stencil technique, heightened in colors and some highlighted with gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides 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" ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: "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." ["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" ["A great art publisher. Lucien Vogel"] in Les Nouvelles littéraires, n°133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus assembled 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly come 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 calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
    The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
    La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic demands and plastic unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, through this alchemy, an entirely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
    Acquired in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "petit journal mourant" ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.
    On the reverse of the illustration, 5 black figures "La cravate pour hommes" ["Men's neckties"].


    €90
  62. Chartreux - Robe de maison (Croquis N°VIII, La Gazette du Bon ton, 1922 n°10)
    DAVID
    Chartreux - Robe de maison (Croquis N°VIII, La Gazette du Bon ton, 1922 n°10)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color engraving, printed on laid paper, signed lower right on the plate.
    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 during the flourishing of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "s'adressent aux bibliophiles et aux mondains esthètes" ["are addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu "La Gazette du bon ton" ["La Gazette du bon ton"] in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The engravings are produced using the metallic stencil technique, heightened in colors and some highlighted with gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides 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" ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: "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." ["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" ["A great art publisher. Lucien Vogel"] in Les Nouvelles littéraires, n°133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus assembled 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly come 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 calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
    The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
    La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic demands and plastic unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, through this alchemy, an entirely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
    Acquired in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "petit journal mourant" ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.
    On the reverse of the illustration, 7 black figures "La lingerie - le mouchoir" ["Lingerie - the handkerchief"].


    €90
  63. Soeur bénédictine de Rome (XVIIIe siècle) (Costume de veuve) (Croquis N°VII, La Gazette du Bon ton, 1922 n°10)
    DAVID
    Soeur bénédictine de Rome (XVIIIe siècle) (Costume de veuve) (Croquis N°VII, La Gazette du Bon ton, 1922 n°10)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper, signed at lower right of the plate.
    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 during the flourishing of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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. Upon 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 fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin typeface, taken up again in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some outlined in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in Femina magazine - decides 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: "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." ["In 1910, he observes, there existed no truly artistic fashion journal representative of the spirit of its time. I therefore thought 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 magazine's success is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus brings 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly 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 calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
    The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
    La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic demands and visual unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and establishes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
    Taken over in 1920 by Condé Montrose Nast, La 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.
    On the verso of the illustration, 3 black figures "Le soulier par Perugia" ["The shoe by Perugia"].


    €90
  64. Moine minime de St-François de Paule (Croquis N°VI, La Gazette du Bon ton, 1922 n°10)
    DAVID
    Moine minime de St-François de Paule (Croquis N°VI, La Gazette du Bon ton, 1922 n°10)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper.
    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 during the flourishing of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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. Upon 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 fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin typeface, taken up again in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some outlined in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in Femina magazine - decides 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: "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." ["In 1910, he observes, there existed no truly artistic fashion journal representative of the spirit of its time. I therefore thought 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 magazine's success is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus brings 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly 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 calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
    The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
    La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic demands and visual unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and establishes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
    Taken over in 1920 by Condé Montrose Nast, La 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.
    On the verso of the illustration, 7 black figures representing hand mirrors and mirrors.


    €90
  65. Immaculée conception (XVIIIe siècle) (Croquis N°III, La Gazette du Bon ton, 1922 n°10)
    DAVID
    Immaculée conception (XVIIIe siècle) (Croquis N°III, La Gazette du Bon ton, 1922 n°10)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper.
    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 bloom of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 « s'adressent aux bibliophiles et aux mondains esthètes » ["are addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine 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 underlined with gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides 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: « 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. » ["In 1910, he observes, there existed no fashion journal truly artistic and representative of the spirit of its era. 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 magazine's success was immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus assembled 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 era: 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 day's fashion.
    La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic exigency and plastic unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and bold, 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 « petit journal mourant » ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.
    On the reverse of the illustration, 6 figures in black: the fashion of veils.


    €90
  66. Abbé (Croquis N°III, La Gazette du Bon ton, 1922 n°10)
    DAVID
    Abbé (Croquis N°III, La Gazette du Bon ton, 1922 n°10)
    Lucien Vogel éditeur|Paris 1922|19 x 24.50 cm|une feuille
    Original color print, printed on laid paper, signature at bottom right of the plate.
    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 bloom of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 « s'adressent aux bibliophiles et aux mondains esthètes » ["are addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine 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 underlined with gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides 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: « 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. » ["In 1910, he observes, there existed no fashion journal truly artistic and representative of the spirit of its era. 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 magazine's success was immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus assembled 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 era: 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 day's fashion.
    La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic exigency and plastic unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and bold, 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 « petit journal mourant » ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.
    On the reverse of the illustration, 6 figures in black: how to wear the hour.


    €90
  69. Lettre autographe adressée à Roger Nimier
    Jacques PERRET
    Lettre autographe adressée à Roger Nimier
    s. l. s. d. [ca 1960]|13.50 x 18 cm|une page
    Autograph letter signed by Jacques Perret, 33 lines in black ink, addressed to a colleague, probably Roger Nimier, apologizing for being unable to attend a meeting organized by the review Arts.
    Fold marks inherent to posting.
    For lack of time, Jacques Perret was unable to honor his promise to write a preface requested by his correspondent: "... if you are pressed for time and you have a replacement preface writer at hand, have no scruples of course as I will not be able to deliver proper work before my return..."
    Jacques Perret then evokes his passion for rugby: "On Rancoule's repositioning (three-quarter wing of Stade Toulousain whom he later joined on the staff)... I therefore had the joy of outflanking the Cardinal's defense and going for the try. It remains for me to convert it by going to embrace my dear Raoul in that army of Princes from whom we still await wonders..."
    Jacques Perret, royalist writer, fierce partisan of French Algeria and virulently anti-Gaullist, was stripped of his civil rights then in 1963, struck from the military medal roll despite protests from some of his fellow writers, suspects that his political positions do not favor honorary decorations: "I think we were made to sign a manifesto manifestly designed to torpedo my ribbon."



    €350
  70. "... je travaille en ce moment dans le silence, et n'ai rien de particulier à dire sur mes projets, sinon que la Rose de sable, roman, paraîtra fin 1931..."
    Henry de MONTHERLANT
    "... je travaille en ce moment dans le silence, et n'ai rien de particulier à dire sur mes projets, sinon que la Rose de sable, roman, paraîtra fin 1931..."
    Signed autograph letter addressed to Christian Melchior-Bonnet
    Alger [Algiers] 18 Octobre 1930|21 x 27 cm|une page + une enveloppe
    Autograph letter signed by Henri de Montherlant, 26 lines written in blue ink, written from Algiers.
    Folds inherent to mailing, envelope included.
    Having returned from a long stay in Morocco, Henri de Montherlant explains his current working method and discusses his upcoming publication projects: "... la Rose de sable, roman, paraîtra fin 1931 et qu'une édition adaptée pour la jeunesse de mes deux Olympiques sera publiée l'an prochain par Larousse..." ["... la Rose de sable, a novel, will appear at the end of 1931 and that an edition adapted for young people of my two Olympiques will be published next year by Larousse..."]
    He regrets not being able to immediately accommodate Christian Melchior-Bonnet's request for manuscript pages of his works in progress in order to review them in his Nouvelles littéraires: "Je vous donnerai bien volontiers les quelques feuillets que vous demandez, autographes. Mais je n'ai rien ici que les deux états des brouillons de la Rose de Sable et comme je vis dans la crainte de perdre le manuscrit principal, que je transporte dans mes déplacements, je garde le second." ["I would gladly give you the few pages you request, autographs. But I have nothing here except the two states of the drafts of la Rose de Sable and as I live in fear of losing the main manuscript, which I carry with me when I travel, I keep the second one."]

    €350
  75. Marcel Proust et la musique d'après sa correspondance
    Denise MAYER
    Marcel Proust et la musique d'après sa correspondance
    La revue musicale|Paris 1979|19.50 x 27.50 cm|broché
    The first edition, of which there were no deluxe copies.
    Spine and boards marginally lightened.
    Precious autograph inscription dated and signed by Denise Mayer: "A monsieur Eric Rohmer en témoignage d'admiration et de vive sympathie, sous l'invocation du XVe Quatuor. Le 19 mars 1980." ["To Monsieur Eric Rohmer as a token of admiration and keen sympathy, under the invocation of the 15th Quartet. March 19, 1980."]














    €150
  78. La cape admirable. Robe et manteau, pour l'après-midi, de Martial et Armand. (pl.64, La Gazette du Bon ton, 1922 n°9)
    Georges LEPAPE (MARTIAL & ARMAND)
    La cape admirable. Robe et manteau, pour l'après-midi, de Martial et Armand. (pl.64, La Gazette du Bon ton, 1922 n°9)
    Lucien Vogel éditeur|Paris 1922|18 x 24 cm|une feuille
    Original color print on laid paper, signed at lower left of the plate.
    Fine copy.
    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.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metallic stencil technique, heightened in color and some highlighted with gold or palladium.
    The adventure begins 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 observed, 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 magazine's success was immediate, not only in France, but also in the United States and South America.
    Originally, Vogel therefore assembled 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 joined 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 later 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 era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no actual model, but only the illustrator's idea of the fashion of the day.
    La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, an entirely new image of women, 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.

    €150
  79. "Tant de chagrin..." ou L'Infidèle. Robe d'après-midi, en crêpe tchina et agnella, de Rodier. Jaquette brodée, pantalon et gilet, de Kriegck (pl.65, La Gazette du Bon ton, 1922 n°9)
    BENITO (RODIER)
    "Tant de chagrin..." ou L'Infidèle. Robe d'après-midi, en crêpe tchina et agnella, de Rodier. Jaquette brodée, pantalon et gilet, de Kriegck (pl.65, La Gazette du Bon ton, 1922 n°9)
    Lucien Vogel éditeur|Paris 1922|18 x 24 cm|une feuille
    Original color print very finely heightened with palladium, printed on laid paper, signed at bottom left of the plate.
    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 bloom of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 "addressed 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 outlined in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of society and fashion - he had already participated in the magazine Femina - decides 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 is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel thus brings 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 are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly 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, most of them unknown when Lucien Vogel calls upon them, would subsequently become emblematic and sought-after artistic figures. These are the same illustrators who create the drawings for the Gazette's advertisements.
    The plates highlight and sublime the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of the fashion of the day.
    La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic requirements and plastic unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, 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 "little dying journal" that Nast had bought a few years earlier: Vogue magazine.

    €150
  80. Lettre tapuscrite signée d'André Malraux à André Parinaud à propos du projet d'un ouvrage en commun possiblement édité par Gallimard
    André MALRAUX
    Lettre tapuscrite signée d'André Malraux à André Parinaud à propos du projet d'un ouvrage en commun possiblement édité par Gallimard
    S. n.|Taormina 1955|17.50 x 25.50 cm|une page sur une feuille + une enveloppe
    Signed typescript letter from André Malraux to André Parinaud on the letterhead of the San Domenico Palace Hotel in Taormina, Malraux's signature at the bottom of the letter in blue ink, which also underlined a word in the letter with a blue ballpoint pen.
    Fold marks inherent to being placed in envelope, envelope included.
    André Malraux asks André Parinaud if the project bringing them together is proceeding well at Gallimard. In case of failure, he proposes contacting Hachette publishing house upon his return from Italy.
    €150
  88. "Neuf heures...il faut que je rentre dîner" Costumes veston, de Larsen (pl.57, La Gazette du Bon ton, 1922 n°8)
    Pierre BRISSAUD (LARSEN)
    "Neuf heures...il faut que je rentre dîner" Costumes veston, de Larsen (pl.57, La Gazette du Bon ton, 1922 n°8)
    Lucien Vogel éditeur|Paris 1922|18 x 24 cm|une feuille
    Original colour print, printed on laid paper, signed bottom left on the plate.
    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 bloom of art deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consisted of 69 issues printed in only 2000 copies and was illustrated notably with 573 colour plates and 148 sketches representing models by great couturiers. Upon their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, heightened in colours and some underlined with 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 observed, 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, no.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 thus assembled 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 highlighted and sublimated 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 idea that the illustrator had of the fashion of the day.
    La Gazette du bon ton was a decisive step in fashion history. Combining aesthetic requirements and plastic unity, it brought together for the first time the great talents from the worlds 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 "little dying journal" that Nast had bought a few years earlier: Vogue magazine.

    €70
  89. La Promeneuse mélancolique. Robe d'après-midi de Beer (pl.63, La Gazette du Bon ton, 1922 n°8)
    George BARBIER (Gustave BEER)
    La Promeneuse mélancolique. Robe d'après-midi de Beer (pl.63, La Gazette du Bon ton, 1922 n°8)
    Lucien Vogel éditeur|Paris 1922|18 x 24 cm|une feuille
    Original color print finely heightened with gold, printed on laid paper, signed in the top left of the plate.
    La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the twentieth century, celebrating the talent of French creators and artists in the full bloom of Art Deco.
    The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 fine 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 created using the metallic stencil technique, enhanced with colors and some highlighted with gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides 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 that was truly artistic and representative of the spirit of its time. I was therefore thinking of creating 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, no.133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel therefore assembled 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 joined 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, unknown for the most part 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 period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature 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 fashion history. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents from the worlds 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.

    €200
  90. Les Cinq sens. Le Goût. Chapeaux, de Camille Roger (pl.56, La Gazette du Bon ton, 1922 n°8)
    Pierre MOURGUE (Camille ROGER)
    Les Cinq sens. Le Goût. Chapeaux, de Camille Roger (pl.56, La Gazette du Bon ton, 1922 n°8)
    Lucien Vogel éditeur|Paris 1922|18 x 24 cm|une feuille
    Original color print, printed on laid paper, signed in the top left of the plate.
    La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the twentieth century, celebrating the talent of French creators and artists in the full bloom of Art Deco.
    The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton 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 fine 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 created using the metallic stencil technique, enhanced with colors and some highlighted with gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides 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 that was truly artistic and representative of the spirit of its time. I was therefore thinking of creating 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, no.133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel therefore assembled 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 joined 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, unknown for the most part 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 period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature 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 fashion history. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents from the worlds 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.

    €100
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