Latest Acquisitions

Original black and white print with wide margins serving as cover for the famous monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe wide-margin volume gathering of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F.
The interest of French collectors in artistic posters amplified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist who had just arrived in Paris, Alfons Mucha « qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste. » ["who has recently emerged in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as a draftsman, decorator and colorist."] (caption printed on the tissue guard of Salomé). It is moreover to him that the first premium of the magazine will be entrusted, offered « à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne » ["to all subscribers of the twelve annual deliveries of L'Estampe moderne"] as well as the famous illustration of the covers.
Very handsome copy.

First edition, one of 49 numbered copies reimposed on imperial Japan paper, deluxe issue after 1 unique Japan and 19 old Japan copies.
Rare and handsome copy.
Work illustrated with a portrait of the author by Gorvel and 4 original etchings by Jean-Emile Laboureur.
Handsome copy complete with the double state of the etchings and a proof of the cancelled plates on Japan as stipulated in the justification of issue.

Rare original colour lithograph, executed by for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's embossed stamp representing a child's profile in lower margin, numbered stamp of the deluxe issue on verso; engraving preceded by a tissue guard inscribed with the artist's name, title and a poem; blank tissue guard.
Lithograph inspired by a poem by Charles Morice which is reproduced on the tissue guard of the print.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F.
This print in a handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearly, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colours also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Symbolist style.

Rare original lithograph, executed by Jacques Wely for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on Chine with wide margins, artist's signature and date in the plate, dry stamp of the publisher depicting a child's profile in lower margin, mounted on a sheet of laid paper with on verso the numbered stamp of the deluxe issue, pale marginal foxing.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the periodical. Thus 100 prints appeared in total, covering the major artistic currents of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe issue: 50 copies on Japan with wide margins and 50 in black on Chine at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: Chine. "Despite all its qualities, China paper, too insubstantial, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "postomania." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the symbolist style.

Edition with most parts in first edition, one of 49 copies reimposed and numbered on Japon impérial, deluxe copies after 1 unique Japon and 19 vieux Japon.
Rare and handsome copy.
Work illustrated with a portrait of the author by Edmond Marie and 4 original etchings hors-texte as well as numerous in-text drawings by Paul Valéry.
Handsome copy complete with the double state of the portrait engraving, the proof of the cancelled plate and the suite of etchings as stipulated in the justification of the issue.

First edition of this issue whose cover was designed by Eduardo Chillida.
Covers lightly and marginally soiled, handsome interior condition.
Abundant iconography reproducing works notably by Niki de Saint-Phalle.
Contributions by Patrick Waldberg "Joseph Sima ou l'Orient de l'oeil", Alain Jouffroy "Philip Martin et l'illumination", Pierre Descargues "Niki de Saint-Phalle. Nanas", C. Giedion-Welcker "Chillida"...

First edition.
Handsome copy, numerous reading marks in pencil and rarer ones in black felt-tip pen on certain leaves by the dedicatee.
Autograph inscription dated and signed by Albert Rafols-Casamada, in Spanish, to Georges Raillard and his wife Alice.

First edition.
Handsome copy.
Signed autograph inscription from Juliette Minces to J. Charpentreau.

Rare original lithograph in sanguine manner, executed by Lucien Lévy-Dhurmer for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on Japan paper with large margins, laid paper mounted on Japan paper, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on the reverse; engraving preceded by a tissue guard inscribed with the artist's name, title and text, trace of an angular fold; blank tissue guard.
Lithograph inspired by an extract from Bachaumont which is reproduced on the print's tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the periodical. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with large margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original lithograph, executed by Jacques Wely for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on China paper with wide margins, laid paper mounted on China, artist's signature in the plate, publisher's blind stamp representing a child's profile in lower margin, mounted on a sheet of vellum paper with numbered stamp of the deluxe edition on verso, pale marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too insubstantial, owes its reputation, not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." ["Malgré toutes ses qualités, le papier de Chine, trop inconsistant, doit sa réputation, non pas à sa propre beauté, mais bien à ses affinités particulières avec l'encre d'impression. Son tissu, lisse et mou tout ensemble, est plus apte qu'aucun autre à recevoir un beau tirage. Cette propriété fait rechercher le papier de Chine pour le tirage des gravures..."] (Anatole France).
The interest of French collectors in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and devoted to conservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right, on the same level as the illustrated luxury book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original color lithograph, executed by Lucien Simon for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's blind stamp representing a child's profile in lower margin, numbered stamp of the deluxe edition on verso; print preceded by a tissue guard captioned with the artist's name, title and presentation text; blank tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and devoted to conservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right, on the same level as the illustrated luxury book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original lithograph, executed by Lucien Simon for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso, pale marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a very limited deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too insubstantial, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, equal to the illustrated deluxe book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original color lithograph, executed by Henri Boutet for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper mounted on Japan paper, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on verso; print preceded by a tissue guard inscribed with the artist's name, title and an extract from a work; blank tissue guard.
Lithograph inspired by an extract from a work by Ludovic Halévy which is reproduced on the tissue guard of the print.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a very limited deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, equal to the illustrated deluxe book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original lithograph, executed by Henri Boutet for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with on verso the numbered stamp of the deluxe printing, pale marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential printing of very deluxe quality: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to qualify this fever invented the term "affichomanie". The poster, originally popular and plastered in the streets of the capital, then became an art object and its ephemeral support became precious and devoted to conservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

The most complete early edition, and the last, partly in first edition, before that produced in 1857 by Antoine de Latour (which was more exhaustive). "These two volumes, which follow the collection of French poets published by Coustelier, are difficult to find". Brunet, IV, 1071.
Full red morocco binding ca 1860 stamp-signed on the pastedown Belz-Niedrée. Spine with raised bands elegantly and richly decorated. Triple fillet frame on boards. Wide inner decorative border. Gilt edges. Traces of rubbing on the raised bands, the lower and upper joints of volume I with slight cracking, but without weakness, the upper joint of volume 1 restored. Overall very fresh. The title pages have been inverted without consequence, that of volume I appears before the contents of volume II and vice versa.
Very handsome copy, perfectly established.
Racan's poetry follows in the tradition of Desportes and Ronsard. Malherbe, his master whom he met at the age of 16, would reproach him for his nonchalance and excessive liberties, but considered him his most gifted pupil; indeed his writing is more fluid, but also more rustic. After Malherbe's death, Racan abandoned his pen for 20 years. Although desirous like his ancestors to distinguish himself in a military career, his dreamy and distracted nature brought him numerous setbacks and he eventually withdrew from it. He produced in 1619, at the age of 30, the poem that would make him famous: Les Bergeries, which is his most substantial work; and at 24, proposed by Richelieu, he would occupy a seat at the French Academy.

Rare original color lithograph, executed by Charles Léandre for L'Estampe Moderne, series number 4 published in August 1897.
One of the 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp from the deluxe edition on verso; print preceded by a tissue guard bearing the artist's name, title and introductory text; and another blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was produced in 2,000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed in colors on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it helps make each page a work in its own right. Its ink-absorbing quality and affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters increased in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and displayed on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the style of Les Maîtres de l'Affiche.

Rare original lithograph executed by Charles Léandre for L'Estampe Moderne, series number 4 published in August 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, laid down on a sheet of laid paper with the numbered luxury edition stamp on verso, occasional marginal foxing.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was produced in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the style of Les Maîtres de l'Affiche.

Rare original color lithograph, executed by Paul Herrmann, also known as Henri Héran for L'Estampe Moderne, series number 4 published in August 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered luxury edition stamp on verso; engraving preceded by a tissue guard inscribed with the artist's name, title, a poem and presentation text; and another blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was produced in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in handsome format is superbly printed in colors on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it helps make each page a work of art in its own right. Its ink absorption quality and affinity with colors also make it the ideal support for these very fine lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Belle Époque style.

Rare original lithograph executed by Paul Herrmann, also known as Henri Héran for L'Estampe Moderne, series number 4 published in August 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the reverse, occasional marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other reviews such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appear in total, covering the major artistic movements of the end of the 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints is issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provides for a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters intensifies at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invents the term "affichomanie". The poster, originally popular and plastered in the streets of the capital, then becomes an art object and its ephemeral support becomes precious and destined for preservation.
Piazza decides to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right on the same level as the luxury illustrated book. He thus composes a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Belle Époque style.

Rare original color lithograph, executed by Emile Auguste Wéry for L'Estampe Moderne, series number 4 published in August 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on the reverse; engraving preceded by a tissue guard inscribed with the artist's name, title and presentation text; and another blank tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other reviews such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appear in total, covering the major artistic movements of the end of the 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints is issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provides for a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed in colors on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters intensifies at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invents the term "affichomanie". The poster, originally popular and plastered in the streets of the capital, then becomes an art object and its ephemeral support becomes precious and destined for preservation.
Piazza decides to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right on the same level as the luxury illustrated book. He thus composes a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original lithograph executed by Emile Auguste Wéry for L'Estampe Moderne, series number 4 published in August 1897.
One of 50 deluxe proofs printed on China with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with on the verso the numbered stamp of the deluxe edition, pale marginal foxing and a very slight lower marginal tear.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne comprises unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late nineteenth century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F.
This print of fine format is superbly printed on one of the most prestigious papers: China. "Malgré toutes ses qualités, le papier de Chine, trop inconsistant, doit sa réputation, non pas à sa propre beauté, mais bien à ses affinités particulières avec l'encre d'impression. Son tissu, lisse et mou tout ensemble, est plus apte qu'aucun autre à recevoir un beau tirage. Cette propriété fait rechercher le papier de Chine pour le tirage des gravures..." ["Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..."] (Anatole France).
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Fine copy.

Original black and white print serving as cover for the celebrated monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe wide-margined volume binding of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne comprises unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late nineteenth century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F.
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist who had just arrived in Paris, Alfons Mucha "qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste." ["who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as draftsman, decorator and colorist."] (caption printed on the tissue guard of Salomé). It was moreover to him that the first bonus of the magazine was entrusted, offered "à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne" ["to all subscribers of the twelve annual deliveries of L'Estampe moderne"] as well as the famous illustration of the covers.
Very fine copy.

Rare original color lithograph, executed by Antoine Calbet for L'Estampe Moderne, series number 5 published in September 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on the verso; engraving preceded by a tissue guard captioned with the artist's name, title and a poem by Henri de Régnier; and another blank tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was published in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed in colors on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a complete work in itself. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the time: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Belle époque style.

Rare original lithograph executed by Antoine Calbet for L'Estampe Moderne, series number 5 published in September 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, light marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was published in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the time: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Belle époque style.

Rare original color lithograph executed by Henri Bellery-Desfontaines for L'Estampe Moderne, series number 5 published in September 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in lower margin, numbered stamp of the deluxe printing on the verso; engraving preceded by a tissue guard inscribed with the artist's name, title and presentation text; and another blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was published in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed in colors on the most prestigious paper: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a complete work in itself. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and displayed on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art in the same way as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.

Rare original lithograph executed by Henri Bellery-Desfontaines for L'Estampe Moderne, series number 5 published in September 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, pale marginal foxing.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was published in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too fragile, owes its reputation not to its own beauty, but to its particular affinity with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and displayed on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art in the same way as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Belle Époque style.

Rare original color lithograph, executed by Armand Point for L'Estampe Moderne, series number 5 published in September 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe printing on the verso; engraving preceded by a tissue guard captioned with the artist's name, title and presentation text; and another blank tissue guard.
Loss filled with a strip of paper in the upper right margin of the plate with small loss to the stamp on the verso.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a beautiful format is superbly printed in color on the most prestigious of papers: Japan paper. Thick, silky, satined and pearlescent, it contributes to making each page a complete work in itself. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomania." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original lithograph executed by Armand Point for L'Estampe Moderne, series number 5 published in September 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, pale marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a beautiful format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomania." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original color lithograph, executed by Maurice Eliot for L'Estampe Moderne, series number 5 published in September 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe printing on verso; engraving preceded by a tissue guard inscribed with the artist's name, title, a poem by Armand Sylvestre and a presentation text; and another blank tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed in color on the most prestigious of papers: Japan paper. Thick, silky, satin and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie" (poster mania). The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Belle époque style.

Rare original lithograph executed by Maurice Eliot for L'Estampe Moderne, series number 5 published in September 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, pale marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie" (poster mania). The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Belle époque style.

Illustrated edition with 10 portraits of the most celebrated actresses of the time by Alexandre Lacauchie, printed outside the text.
Half red calf binding, spine with five raised bands decorated with garlands and double gilt compartments, some scuffs notably to the upper headcap, marbled paper boards, marbled endpapers and pastedowns, a small harmless nick to the top edge, contemporary binding.
Handsome interior condition without foxing.

First edition, of which there were no deluxe copies.
Two small tears to the spine and at the head of the front cover, light scuffs at the foot of the front cover, occasional foxing.

First edition for which no deluxe copies are mentioned.
Four corner lacks to boards, handsome interior condition.
Rare.

Illustrated edition with 25 original etchings by Jacques Derrey and printed in 275 numbered copies on Arches vellum, ours being one of the 40 deluxe copies containing a suite in first state and a suite in final state on thin Japan paper.
Rare and handsome copy lacking the slipcase.

Original black and white print with wide margins serving as cover for the famous monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe wide-margined volume compilation of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F.
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist freshly arrived in Paris, Alfons Mucha "who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as draftsman, decorator and colorist." (caption printed on the tissue guard of Salomé). It was to him that the first premium of the magazine would be entrusted, offered "to all subscribers of the twelve annual deliveries of L'Estampe moderne" as well as the famous illustration of the covers.
Very handsome copy.

First edition. Fine edition, well printed on laid paper, complete with the errata leaf at the end.
Half emerald green morocco binding with corners ca 1860 signed on endpaper Champs. Smooth spine richly decorated with 6 successive Restoration-style tools. Gilt title and date at foot. Foxing to endpapers, some occasional foxing in the text on an otherwise clean copy. Full-margined copy, untrimmed.
Carteret: "Rare work, masterpiece of Hégésippe Moreau." The author is, despite himself, one of the cursed Romantic poets, who died at age 28 of tuberculosis, just as this first collection that would make him known was being published. 4 novellas or tales followed by poetry.

Rare original color lithograph, executed by Auguste François-Marie Gorguet for L'Estampe Moderne, series number 6 published in October 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's embossed stamp representing a child's profile in the lower margin, numbered stamp of the deluxe printing on the reverse; engraving preceded by a tissue guard captioned with the artist's name, title, a poem and a presentation text; and another blank tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential printing of very great luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed in colors on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's symbolist style.

Rare original lithograph executed by Auguste François-Marie Gorguet for L'Estampe Moderne, series number 6 published in October 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's embossed stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the reverse, light marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential printing of very great luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's symbolist style.

Rare original color lithograph, executed by Armand Rassenfosse for L'Estampe Moderne, series number 6 published in October 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe edition on the verso; print preceded by a tissue guard captioned with the artist's name, title, a poem and presentation text; and another blank tissue guard.
Lithograph inspired by verses from Leconte de Lisle extracted from his collection Poèmes antiques, an extract of which is reproduced on the print's tissue guard: "Les cheveux noués d'un lien de fleurs..." ["Hair bound with a garland of flowers..."]
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed in colors on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very beautiful lithographs.
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie" ["poster mania"]. The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right, equal to the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's symbolist style.

Rare original lithograph executed by Armand Rassenfosse for L'Estampe Moderne, series number 6 published in October 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, light marginal foxing.
Lithograph inspired by verses from Leconte de Lisle extracted from his collection Poèmes antiques: "Les cheveux noués d'un lien de fleurs..." ["Hair bound with a garland of flowers..."]
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too fragile, owes its reputation not to its own beauty, but rather to its particular affinity with printing ink. Its texture, smooth and soft together, is more suited than any other to receive a fine impression. This property makes China paper sought after for printing engravings..." ["Malgré toutes ses qualités, le papier de Chine, trop inconsistant, doit sa réputation, non pas à sa propre beauté, mais bien à ses affinités particulières avec l'encre d'impression. Son tissu, lisse et mou tout ensemble, est plus apte qu'aucun autre à recevoir un beau tirage. Cette propriété fait rechercher le papier de Chine pour le tirage des gravures..."] (Anatole France).
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie" ["poster mania"]. The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right, equal to the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's symbolist style.

First edition. Frontispiece title on heavy paper. The work has been attributed to both Abbé Jérôme Richard and Pierre François Godard de Beauchamp.
Contemporary full marbled brown sheep binding. Spine with raised bands, decorated. Red morocco title label. Joints cracked at foot, the joint of the upper board split with losses. 3 corners bumped. Leaf 119, tear with loss and loss of letters. Rubbing.
Aihcrappoh is the anagram of Hipparchia; there is moreover another edition in 1748 under this title, with an extended preface. Gallant and libertine story.

Rare original color lithograph, executed by Charles Doudelet for L'Estampe Moderne, series number 6 published in October 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's blind stamp representing a child's profile in lower margin, numbered stamp of the deluxe printing on verso; engraving preceded by a tissue guard bearing the artist's name, title and presentation text; and another blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This handsomely formatted print is superbly printed in colors on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie". The poster, originally popular and displayed in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Rare original lithograph executed by Charles Doudelet for L'Estampe Moderne, series number 6 published in October 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with on the verso the numbered stamp of the deluxe edition, pale marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late nineteenth century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at the same time, is more apt than any other to receive fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.

Complete autograph manuscript on four perforated sheets, approximately one hundred lines, written in pencil, of the song titled "Cours ta chance" very heavily crossed out and corrected, with the verso of one of the four sheets presenting variants from the final text.
Our collection is completed with a manuscript draft of 16 lines written in blue ink with numerous corrections, additions and crossings out, also providing variants from the final text.
Finally, we include, on two perforated sheets, one of which is pasted on flexible cardboard, two complete typescripts of "Cours ta chance".
Handsome collection of this song which was composed in 1958.
Provenance: Boris Vian Foundation.

Rare original lithograph, executed by Paul Jouve for L'Estampe Moderne, series number 6 published in October 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered luxury edition stamp on the verso; engraving preceded by a tissue guard captioned with the artist's name, the title, an extract from a work by A. Malfilatre and a presentation text; blank tissue guard.
"It is with a pencil already sure of itself, a very powerful firmness of drawing and also a very thorough knowledge that Jouve, the animal artist, has rendered for us this imaginatively picturesque page of monkey life".
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other reviews such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a complete work in itself. Its ink absorption quality and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomania". The poster, originally popular and posted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy of a work of witty humor by this famous animal painter.

Rare original lithograph executed by Paul Jouve for L'Estampe Moderne, series number 6 published in October 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the verso, pale marginal foxing.
"It is with a pencil already sure of itself, a very powerful firmness of drawing and also a very thorough knowledge that Jouve, the animal artist, has rendered for us this imaginatively picturesque page of monkey life".
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other reviews such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomania". The poster, originally popular and posted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy of a work of witty humor by this famous animal painter.

Rare original color lithograph executed by René Ménard for L'Estampe Moderne, series number 1 published in May 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe issue on the verso.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was produced in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed in colors on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and its affinity with colors also make it the ideal support for these very fine lithographs.
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the symbolist style of the artist.

Rare original lithograph executed by René Ménard for L'Estampe Moderne, series number 1 published in May 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe issue on the verso, some foxing.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was produced in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft at once, is more suited than any other to receive a fine impression. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the symbolist style of the artist.

Rare original color lithograph executed by Maurice Réalier-Dumas for L'Estampe Moderne, series number 1 published in May 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe printing on the verso.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of previously unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed in colors on the most prestigious of papers: Japan paper. Thick, silky, satined and pearlescent, it contributes to making each page a complete work in itself. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's Art Nouveau style.

Rare original lithograph executed by Maurice Réalier-Dumas for L'Estampe Moderne, series number 1 published in May 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, some foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of previously unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's Art Nouveau style.

Original black and white print with very full margins serving as cover for the famous monthly publication L'Estampe Moderne. Printed entirely in black, our print is the cover of the rare deluxe volume with full margins from the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan with full margins and 50 in black on China at the considerable price of 30F.
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on par with the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist who had recently arrived in Paris, Alfons Mucha "qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste." ["who has recently been revealed in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as draftsman, decorator and colorist."] (caption printed on the tissue guard of Salomé). It is moreover to him that the first premium of the magazine will be entrusted, offered "à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne" ["to all subscribers of the twelve annual deliveries of L'Estampe moderne"] as well as the famous illustration of the covers.
Very handsome copy.

Original black and white print with full margins serving as cover for the famous monthly publication L'Estampe Moderne. Printed entirely in black, our print is the cover of the rare deluxe volume with full margins from the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan with full margins and 50 in black on China at the considerable price of 30F.
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on par with the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist who had recently arrived in Paris, Alfons Mucha "qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste." ["who has recently been revealed in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as draftsman, decorator and colorist."] (caption printed on the tissue guard of Salomé). It is moreover to him that the first premium of the magazine will be entrusted, offered "à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne" ["to all subscribers of the twelve annual deliveries of L'Estampe moderne"] as well as the famous illustration of the covers.
Very handsome copy.

Rare original color lithograph, executed by Emile Berchmans for L'Estampe Moderne, series number 2 published in June 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered luxury edition stamp on verso; engraving preceded by a tissue guard captioned with the artist's name, title and presentation of the artist and another blank tissue guard.
"E. Berchmans is one of the most gifted artists of the young Belgian school; he has particularly distinguished himself among collectors through his posters of ingenious symbolism and delicate coloration. In Renouveau, where a satyr and faun go entwined through the greening forests, we find the qualities of the skillful draftsman and painter enamored with poetry".
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed in color on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very fine lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomania". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on par with the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Fine copy in the symbolist style of the artist.

Rare original lithograph executed by Emile Berchmans for L'Estampe Moderne, series number 2 published in June 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the verso, occasional marginal foxing.
"E. Berchmans is one of the most gifted artists of the young Belgian school; he has particularly distinguished himself among collectors through his posters of ingenious symbolism and delicate coloration. In Renouveau, where a satyr and faun go entwined through the greening forests, we find the qualities of the skillful draftsman and painter enamored with poetry".
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomania". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on par with the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Fine copy in the symbolist style of the artist.

Rare original color lithograph, executed by Armand Berton for L'Estampe Moderne, series number 2 published in June 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on verso; engraving preceded by a tissue guard inscribed with the artist's name, title and presentation of the artist, traces of folds and another blank tissue guard.
A small angular lack in the upper right margin filled with a strip of paper.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provided a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a beautiful format is superbly printed in colors on the most prestigious of papers: Japan paper. Thick, silky, satined and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very beautiful lithographs.
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's academic style.

Rare original lithograph executed by Emile Berchmans for L'Estampe Moderne, series number 2 published in June 1897.
One of 50 deluxe proofs printed on China paper with wide margins, printed in brown ink in the manner of sanguine, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with on the verso the numbered stamp of the deluxe edition, occasional marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provided a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a beautiful format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's academic style.

”Salomé” – Original lithograph on papier japon – L'Estampe Moderne
Rare Alphonse Mucha color lithograph heightened with gold for L'Estampe Moderne, series number 2, published in June 1897.
One of 50 grand luxe proofs printed on papier japon with wide margins, signed by the artist in the plate, publisher's stamp to lower margin, de luxe printing numbered stamp to verso, upper margin slightly sunned; the plate itself preceded by a silk tissue with the name of the artist, title, a poem and a caption.
L'Estampe moderne was a magnificent monthly French publication published between May 1897 and April 1899. It included unpublished chromolithographs specially made by each artist for the magazine – as mentioned on the protective silk tissue over each plate – unlike other publications such as Les Maîtres de l'Affiche. 100 prints were published in total, covering major artistic movements of the late 19th-century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and ‘Belle époque'. 2,000 copies were printed of each fascicule containing four prints and sold for 3.50F. 100 copies were printed on papier japon for 10F.
Henri Piazza also planned a very luxurious secret printing of 50 copies on papier japon with wide margins and 50 in black and white on papier chine at the considerable price of 30F.
This well-sized print is superbly printed in colors on the most prestigious of papers: japon. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its qualities of absorption and its affinity for colors make it the ideal support for these lovely lithographs.
The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this new form of collection: ‘affichomanie', or poster mania. The initially common poster displayed in the streets of Paris became a work of art and its ephemeral material became precious and made to last.
Piazza decided to separate the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He put together a prestigious collection of entirely original artworks by the most fashionable European artists: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
He also included in this project a Czech artist freshly arrived in Paris, Alfonse Mucha “who has only recently become active in France but immediately carved out for himself the affection of the public. Like his posters, which everyone knows and covets, he shows us here the varied resources of his multifaceted talents as accomplished draughstman, decorator and colorist” (from the notes printed on the silk protective paper of Salomé). The two first special numbers of the journal were in fact dedicated to him, and were given to “all the subscribers for all twelve annual numbers of L'Estampe moderne” as well as the famous illustration of the covers.

A fine signed plate by the master of Art nouveau.

"Salomé" - Original lithograph on China paper - L'Estampe Moderne

L'Estampe Moderne, Imprimerie Champenois for C H Masson & H Piazza | Paris (june 1897) | subject: 23.5 x 33 cm, plate: 40.8 x 55 cm | one leaf and one guard

Rare original black and white lithograph by Alphonse Mucha for L'Estampe Moderne, series number 2, published in June 1897.

One of the 50 grand luxe proofs printed on China paper with wide margins, signed and dated by the artist in the plate. Embossed stamp of the publisher showing a child in profile to lower margin, laid down on a leaf of vélin paper with the numbered stamp of the tirage de luxe to verso, occasional spotting to margins not touching image, blank guard.

A magnificent monthly French publication that appeared between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs that, unlike those in other magazines like Les Maîtres de l'Affiche and as is stipulated on the guard sheets, were specially made by each artist for the magazine. There are thus 100 prints that appeared in total, covering the major artistic currents of the late 19th Century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalists and the Belle époque. Each fascicule of four prints was printed in 2,000 copies and sold for 3.50F, with 100 on Japan paper sold at 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on Japan paper with wide margins and 50 in black and white on China paper at the considerable price of 30F.
This well-sized print is superbly printed in colors on the most prestigious of papers: Japan. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its absorptive qualities for ink and its affinity for colors make it the ideal support for these lovely lithographs.
The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this growing interest: affichomanie, or poster mania. The poster, originally not rare and posted up in the streets of the capital, thus became a work of art and its ephemeral background became precious and essential for conservation.
Piazza decided to extract the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He thus put together a prestigious collection of entirely original works by the most fashionable European artists of the age: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
He also included in this project a Czech artist freshly arrived in Paris, Alfonse Mucha “who has only recently become active in France but who has immediately carved out for himself the affection of the public. Like in his posters, which everyone knows and covets, he shows us here the varied resources of his multifaceted talents as accomplished draughstman, decorator and colorist” (from the notes printed on the guard for Salomé). The two first special numbers of the review were in fact dedicated to him, and were given to “all the subscribers for all twelve annual numbers of L'Estampe moderne” as well as the famous illustration of the covers.

A fine signed plate by the master of Art nouveau.

Original black and white print serving as cover for the famous monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe volume edition with wide margins of the first year of publication. Artist's signature in the plate and deluxe printing number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
The interest of French collectors in artistic posters intensified in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for conservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, equal to the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist freshly arrived in Paris, Alfons Mucha "qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste." ["who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as a draftsman, decorator and colorist."] (caption printed on the tissue guard of Salomé). It was moreover to him that the first premium of the magazine was entrusted, offered "à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne" ["to all subscribers of the twelve annual issues of L'Estampe moderne"] as well as the famous illustration of the covers.
Very handsome copy.

Rare original color lithograph, executed by Paul Balluriau for L'Estampe Moderne, series number 3 published in July 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe printing on verso; print preceded by a tissue guard bearing the artist's name, title, an excerpt from the work and a presentation of the artist, traces of folds and another blank tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed in colors on the most prestigious of papers: Japan. Thick, silky, satin and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters intensified in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for conservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, equal to the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's symbolist style.

Rare original lithograph executed by Paul Balluriau for L'Estampe Moderne, series number 3 published in July 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on verso, occasional marginal foxing.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's symbolist style.

Rare original color lithograph, executed by Gaston de Latenay for L'Estampe Moderne, series number 3 published in July 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe printing on verso; print preceded by a blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed in colors on the most prestigious of papers: Japan. Thick, silky, satined and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's symbolist style.

Rare original lithograph executed by Gaston de Latenay for L'Estampe Moderne, series number 3 published in July 1897.
One of 50 deluxe proofs printed on China paper with large margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso, rare marginal foxing, blank tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a very limited deluxe printing: 50 copies on Japan paper with large margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's symbolist style.

Rare original lithograph in colors, executed by Marcel Lenoir for L'Estampe Moderne, series number 3 published in July 1897.
One of 50 deluxe proofs printed on Japan paper with large margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on verso; print preceded by a tissue guard inscribed with the artist's name, title and presentation of the artist; and another blank tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a very limited deluxe printing: 50 copies on Japan paper with large margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed in colors on the most prestigious of papers: Japan paper. Thick, silky, satined and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's Art Nouveau style.

Rare original lithograph executed by Marcel Lenoir for L'Estampe Moderne, series number 3 published in July 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp showing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso, rare marginal foxing, blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." ["Malgré toutes ses qualités, le papier de Chine, trop inconsistant, doit sa réputation, non pas à sa propre beauté, mais bien à ses affinités particulières avec l'encre d'impression. Son tissu, lisse et mou tout ensemble, est plus apte qu'aucun autre à recevoir un beau tirage. Cette propriété fait rechercher le papier de Chine pour le tirage des gravures..."] (Anatole France).
The interest of French collectors in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Fine copy in the artist's Art Nouveau style.

La femme au paon" - Original lithograph on China paper - L'Estampe Moderne
L'Estampe Moderne, Imprimerie Champenois pour C H Masson & H Piazza, Paris (july 1897), subject: 22.5 x 34 cm, plate : 40.8 x 55 cm, one leaf
Rare original lithograph by Louis John Rhead for L'Estampe Moderne, series no. 3, published in July 1897.
One of the 50 grand luxe proofs printed on China paper with wide margins, printed in brown ink, signed and dated by the artist in the stone. Embossed stamp of the publisher showing a child in profile to lower margin, laid down on a leaf of vélin paper with the numbered stamp of the tirage de luxe to verso, occasional spotting to margins.
A magnificent monthly French publication that appeared between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs that, unlike those in other magazines like Les Maîtres de l'Affiche and as is stipulated on the guard sheets, were specially made by each artist for the magazine. There are thus 100 prints that appeared in total, covering the major artistic currents of the late 19th Century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalists and the Belle Epoque. Each fascicule of four prints was printed in 2,000 copies and sold for 3.50F, with 100 on Japan paper sold at 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on Japan paper with wide margins and 50 in black and white on China paper at the considerable price of 30F.
This well-sized print is superbly printed on one of the most prestigious of papers: China. "Despite all its qualities, China paper, all too inconsistent, owes its reputation not to its own beauty, but to its particular affinity for printing ink. Its consistency, both smooth and soft, is more suitable than any other for receiving a good impression. It is this property that makes it sought-after for printing engravings...“ (Anatole France).
The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this growing interest: affichomanie, or poster mania. The poster, originally not rare and posted up in the streets of the capital, thus became a work of art and its ephemeral background became precious and essential for conservation.
Piazza decided to extract the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He thus put together a prestigious collection of entirely original works by the most fashionable European artists of the age: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
A fine copy in the artist's Art Nouveau style.

Rare original color lithograph, executed by Gaston Darbour for L'Estampe Moderne, series number 4 published in August 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp showing a child's profile in the lower margin, numbered stamp of the deluxe edition on verso; engraving preceded by a tissue guard captioned with the artist's name, title and introductory text, fold marks; and another blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed in colors on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Fine copy in the artist's Belle Époque style.

Original black and white print with wide margins serving as cover for the famous monthly publication of L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe volume compilation with wide margins of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was published in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term « affichomanie ». The poster, originally popular and plastered in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for conservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also included in his project a Czech artist newly arrived in Paris, Alfons Mucha « who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as draftsman, decorator and colorist. » [« qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste. »] (caption printed on the tissue guard of Salomé). It is moreover to him that the first premium of the magazine was entrusted, offered « to all subscribers of the twelve annual issues of L'Estampe moderne » [« à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne »] as well as the famous cover illustration.
Very handsome copy.

Rare original lithograph executed by Gaston Darbour for L'Estampe Moderne, series number 4 published in August 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, slight marginal foxing.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was published in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of beautiful format is superbly printed on one of the most prestigious papers: China paper. « Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings... » (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term « affichomanie ». The poster, originally popular and plastered in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for conservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's Art Nouveau style.

First edition of this issue of the review consisting of two folded sheets.
Minor marginal tears of no consequence to the sheets.
On the first, a color woodcut depicting François Coppée by Emile Cohl.
On the following, text by Paul Verlaine in first edition titled "François Coppée".
Paul Verlaine, perpetually impecunious, would be the only contributor to the review whom Léon Vanier, its director, would agree to remunerate in order to provide him financial assistance.

First edition of this issue of the review consisting of two folded sheets.
Minor marginal tears of no consequence to the sheets.
On the first, a color woodcut depicting Edouard Dujardin by Louis Anquetin.
On the following, text by Théodore de Wyzewa in first edition titled "Edouard Dujardin".

First edition of this magazine issue consisting of two folded sheets.
Minor marginal tears to the sheets without significance.
On the first, a color woodcut representing Paul Bourget by Emile Cohl.
On the following, text by Jules Laforgue in first edition entitled "Paul Bourget".

First edition of this magazine issue consisting of two folded sheets.
Minor marginal tears to the sheets without significance.
On the first, a color woodcut representing Paul Adam by Zed.
On the following, text by Gustave Kahn in first edition entitled "Paul Adam".

First edition of this issue of the magazine consisting of two folded sheets.
Worming and marginal stains on the sheets.
On the first, a color lithograph depicting Sully-Prudhomme by Emile Cohl.
On the following ones, text by Paul Verlaine in first edition entitled "Sully-Prudhomme".
Paul Verlaine, always impecunious, would be the only contributor to the magazine that Léon Vanier, its director, would agree to pay in order to provide him with financial assistance.

First edition of this issue of the magazine consisting of two folded sheets.
Light marginal tears and minor lacks of no consequence to the sheets.
On the first, a color woodcut depicting Anatole Baju by Manuel Luque.
On the following ones, text by Paul Verlaine in first edition entitled "Anatole Baju".
Paul Verlaine, always impecunious, would be the only contributor to the magazine that Léon Vanier, its director, would agree to pay in order to provide him with financial assistance.

First edition of this issue of the magazine consisting of two refolded sheets.
Inevitable minor lacks of no consequence to the margins of the sheets.
On the first, a color woodcut representing Charles Le Goffic by Gaston Noury.
On the following ones, text by Charles Maurras in first edition entitled "Charles Le Goffic".

First edition of this issue of the magazine consisting of two refolded sheets.
Inevitable minor marginal tears of no consequence to the sheets.
On the first, a color woodcut representing Leconte de Lisle by Coll-Toc.
On the following ones, text by Paul Verlaine in first edition entitled "Leconte de Lisle" which is the first of twenty-seven contributions by Paul Verlaine to the magazine.
Paul Verlaine, always impecunious, will be the only contributor to the magazine that Léon Vanier, its director, will agree to remunerate in order to help him financially.

First edition of this issue of the review consisting of two folded sheets.
Inevitable minor marginal tears of no consequence to the sheets.
On the first, a color woodcut representing Henri de Régnier by Manuel Luque.
On the following ones, text by Léon Vanier, under the pseudonym Pierre et Paul, in first edition entitled "Henri de Régnier".

First edition printed on laid paper.
Contributions by Edmond Rostand "La tristesse d'un éventail" ["The sadness of a fan"], Tancrède de Visan "L'invitation au voyage" ["The invitation to travel"], Sacha Guitry "Strophes dissemblables ayant pour but de chanter l'été" ["Dissimilar stanzas intended to sing of summer"], Rob Mallet-Stevens "Whistler - Borodine - Rodenbach", Stéphane Mallarmé with 14 unpublished poems, Charles Baudelaire on a score by Reynaldo Hahn "Infinis bercements du loisir embaumé" ["Infinite lulling of fragrant leisure"], Jean Cocteau "La nuit quitte un parc" ["Night leaves a park"], Valentine de Saint-Point "J'interroge" ["I question"], François Bernouard "Fin" ["End"]...
Issue illustrated with drawings by Pierre Bonnard, Charles Guérin, W. Czerny, Paul Iribe, James Whistler...
Covers sunned and marginally soiled, pleasant interior condition.

"L'incantation" (Salammbô) – Original lithograph on papier japon – L'Estampe Moderne

L'Estampe Moderne, Imprimerie Champenois for C H Masson & H Piazza | Paris (june 1897) | subject: 23.5 x 33 cm, plate: 40.8 x 55 cm | one leaf and one captioned silk tissue

Rare Alphonse Mucha color lithograph heightened with gold for L'Estampe Moderne 'The free first prize reserved to subscribers to a whole annual run of L'Estampe Moderne'.
One of 50 'grand luxe' prints with wide margins, signed by the artist in the plate, publisher's stamp to lower margin, de luxe printing numbered stamp to verso, upper margin slightly sunned; the plate itself preceded by a silk tissue with the name of the artist, title, a poem and a caption - a tear to the tissue, not affecting the text.
A lithograph inspired by Gustave Flaubert's Salammbô, with a excerpt from the novel printed on the silk protective paper: “[And Salammbô went out onto the balcony of her palace]”.
L'Estampe moderne was a magnificent monthly French publication published between May 1897 and April 1899. It included unpublished chromolithographs specially made by each artist for the magazine – as mentioned on the protective silk tissue over each plate – unlike other publications such as Les Maîtres de l'Affiche. 100 prints were published in total, covering major artistic movements of the late 19th-century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and ‘Belle époque'. 2,000 copies were printed of each fascicule containing four prints and sold for 3.50F. 100 copies were printed on papier japon for 10F.
Henri Piazza also planned a very luxurious secret print of 50 copies on papier japon with wide margins and 50 in black and white on papier chine at the considerable price of 30F.
This well-sized print is superbly printed in colors on the most prestigious of papers: japon. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its qualities of absorption and its affinity for colors make it the ideal support for these lovely lithographs.
The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this new form of collection: ‘affichomanie', or poster mania. The initially common poster displayed in the streets of Paris became a work of art and its ephemeral material became precious and made to last.
Piazza decided to separate the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He put together a prestigious collection of entirely original artworks by the most fashionable European artists: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
He also included in this project a Czech artist freshly arrived in Paris, Alfonse Mucha “who has only recently become active in France but immediately carved out for himself the affection of the public. Like his posters, which everyone knows and covets, he shows us here the varied resources of his multifaceted talents as accomplished draughstman, decorator and colorist” (from the notes printed on the silk protective paper of Salomé). The two first special numbers of the journal were in fact dedicated to him, and were given to “all the subscribers for all twelve annual numbers of L'Estampe moderne” as well as the famous illustration of the covers.

A fine signed plate by the master of Art nouveau.

Autograph manuscript nearly complete, the first couplet of 4 lines being absent, on a perforated sheet, of 36 lines, written in pencil, of the song entitled "Ave Maria des pêcheurs".
On the entire verso of this manuscript, Boris Vian copied out, still in pencil, 9 quotations from Paul Valéry extracted from his "Mauvaises pensées & autres" ["Bad Thoughts & Others"] for which he indicated pagination: "Un chef est un homme qui a besoin des autres, 208" ["A leader is a man who needs others, 208"] - "Ce qui est simple est toujours faux. Ce qui ne l'est pas est inutilisable. (ib. p 143)" ["What is simple is always false. What is not is unusable. (ib. p 143)"] - "Le grand triomphe de l'adversaire est de vous faire croire ce qu'il dit de vous" ["The great triumph of the adversary is to make you believe what he says about you"] ib. p 82. - "Un homme sérieux a peu d'idées. Un homme d'idées n'est jamais sérieux. (ib. p 108)..." ["A serious man has few ideas. A man of ideas is never serious. (ib. p 108)"]...
Our set is completed, on a perforated sheet of the same dimension, by an autograph manuscript of about fifty lines of this song that Boris Vian abundantly corrected and which presents variants with the final text.
Finally, we include, on two perforated sheets, one of which pasted onto flexible cardboard, two complete typescripts of the "Ave Maria des pêcheurs" as well as a photocopy of the manuscript score.
Fine set whose music was composed by Henri Salvador between 1958 and which he performed in 1979.
Provenance: Fondation Boris Vian.

Rare original color lithograph executed by Louis-Auguste Girardot for L'Estampe Moderne, series number 1 published in May 1897.
One of 50 deluxe proofs printed on Japan paper with full margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe issue on verso; print preceded by tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe issue: 50 copies on Japan paper with full margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed in colors on the most prestigious paper: Japan. Thick, silky, satin and pearlescent, it contributes to making each page a complete work in its own right. Its ink absorption quality and its affinity with colors also make it the ideal support for these very fine lithographs.
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and displayed in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for conservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens. Handsome copy in the artist's orientalist style.

Two typescripts of 32 lines each of Boris Vian's song "Avec ton sourire" on two perforated sheets, one of which is mounted on flexible cardboard.
Boris Vian wrote the text in 1958, Alexandre Champigny composed the music and performed it only in 2007.
Provenance: Fondation Boris Vian.

Rare original lithograph executed by Louis-Auguste Girardot for L'Estampe Moderne, series number 1 published in May 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with on the verso, the numbered stamp of the deluxe issue, occasional marginal foxing.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the orientalist style of the artist.

Rare original lithograph executed by Louis Malteste for L'Estampe Moderne, series number 1 published in May 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with on the verso, the numbered stamp of the deluxe issue, some pale foxing marginally affecting the figure.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the post-impressionist style of the artist.

Rare original lithograph executed by Louis Malteste for L'Estampe Moderne, series number 1 published in May 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, printed on sepia ground, artist's signature and date in the plate, publisher's embossed stamp depicting a child's profile in lower margin, numbered stamp of the deluxe edition on verso.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed in colors on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie". The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the post-impressionist style of the artist.

First edition of this bulletin printed and distributed during the Algerian War by the Organisation Clandestine du Contingent.
The O.C.C. brought together, within the French army, communist elements campaigning against the war in Algeria and seeking to end France's colonial adventure by denouncing the misdeeds and abuses of colonialism.
Rare document alerting O.C.C. militants against the actions of the O.A.S., the Organisation de l'Armée Secrète fighting for the preservation of a French Algeria.
Fold mark inherent to postal distribution.

First edition.
Spine and covers with minor corner worming.
Contributions by Jean Follain "Je ne suis pas d'accord", Edmond Humeau "Ne pensez qu'aux vivants", Adrian Miatlev "Vie des saints"...

First edition.
Light corner creases to covers, not affecting text.
Contributions by Emmanuel Looten "Néogénèse", Ernest Haumesser "Remontons au déluge ou les pré-lupasciens", Gaston Chaissac...

First edition.
A crease at foot of front cover, worming to rear cover.
Contributions by Pierre Boujut, Adolphe Grad, Fred Bourguignon, Jean Laurent...