Paris (France)

First edition, one of 43 numbered copies on pure thread paper, the only deluxe copies.
Handsome copy despite very light and harmless yellowing to spine.

First edition on ordinary paper.
Spine and covers marginally browned, handsome interior condition.
Rare autograph inscription signed by Edouard Schuré to the writer and poet Auguste Dorchain and his wife: "... au poète exquis, à la charmante diseuse qui forment un couple parfait. Leur admirateur Edouard Schuré." (to the exquisite poet, to the charming reciter who form a perfect couple. Their admirer Edouard Schuré.)

First edition, one of 350 numbered copies on laid paper, ours unnumbered, the only printing along with 10 on China paper.
Two small corner lacks at head and foot of front cover, handsome interior condition.

First edition, one of 230 numbered copies on pur fil, the only deluxe copies with 2 on Japan paper.
Two fold marks to lower right margin of front cover.
Handsome copy.

First edition on ordinary paper.
Spine sunned, handsome interior condition.
Rare autograph inscription signed by Edouard Schuré to the writer and poet Auguste Dorchain.

First edition printed in 175 numbered deluxe copies.
Three stains on the front cover.
Autograph inscription signed by Paul Valéry: "Pour les oeuvres de l'Ecole Edgar Quinet. Paul Valéry." (For the works of the Edgar Quinet School. Paul Valéry.)

First edition, one of 56 numbered copies on handmade paper, the only deluxe copies.
The work illustrated with 4 hors-texte illustrations by Camille Bryen.
A handsome copy.

First edition, one of 68 numbered copies on pure thread paper, the only deluxe copies.
Handsome copy despite the spine very slightly yellowed without consequence.

First edition, one of 55 numbered copies on pure thread paper, the only deluxe copies.
Handsome copy despite the spine very slightly yellowed without consequence.

First edition, one of 85 numbered copies on pure linen paper, the only deluxe copies after 15 on Holland paper.
Preface by Julien Lanoë.
Handsome copy.

First collected edition and partly in first edition, one of 260 numbered copies on pure linen paper, deluxe copies after 28 on Holland paper.
Handsome copy despite the spine very slightly yellowed without consequence.

First edition, one of 55 numbered copies on handmade paper, the only deluxe copies.
Handsome copy despite the spine very slightly yellowed without consequence.

First edition, one of 60 numbered copies on handmade paper, the only deluxe copies.
Handsome copy despite the spine very slightly yellowed without consequence.

First edition, one of 65 numbered copies on pur fil paper, the only deluxe copies.
Handsome copy despite the spine being very slightly yellowed without consequence.

First edition, one of 43 numbered copies on pur fil paper, the only deluxe copies.
Handsome copy despite the spine being very slightly yellowed without consequence.

First edition, one of 60 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

First edition.
Handsome copy despite the covers being lightly and marginally sunned without consequence.

Collected edition.
Spine very lightly sunned with a small tear at head, some foxing on the leaves of the final gathering.

First edition illustrated with photographs by the author.
Handsome copy.
Manuscript signature of Freddy Boller on the title page.

First edition, one of 250 numbered copies on Holland paper, ours bearing No. 1, the only deluxe copies.
Handsome copy with full margins.
Half purple morocco with corners, spine with five raised bands set with gilt stippling decorated with double gilt compartments adorned with a scattering of gilt stars, gilt date at foot, frame of gilt fillets on moiré paper boards, marbled endpapers and pastedowns, bookplate pasted on one pastedown, covers and spine preserved, top edge gilt retaining its deckled edges, elegant contemporary binding signed Creuzevault.

First edition, one of 45 numbered copies on pur fil, the only deluxe copies.
Handsome copy despite two adhesive paper discharges with minimal paper lacks on the first endpaper.

First edition on ordinary paper.
Half red morocco binding, spine with five raised bands set with gilt fillets and decorated with quadruple gilt compartments, gilt date at foot, gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, bookplate pasted at foot of pastedown, covers and spine preserved, top edge gilt, handsome period binding signed Franz.
Signed autograph inscription from René Benjamin to the painter Maxime Dethomas.
Our copy is also enriched with a second signed autograph inscription from René Benjamin which comes from another work and has been mounted on a stub: "To Pauley, marvelous artist of a trembling life, from... Gaspard who loved all that is living. René Benjamin. April 1935... And with what heart I thank you for what you have done for me!"
Fine copy handsomely bound of this work which was awarded the Prix Goncourt 1915.

Edition printed in 140 numbered copies on vellum illustrated with 46 original drypoints by André Jacquemin, our copy specially for the naturalist, entomologist and geologist Nérée Boubée.
Spine of chemise slightly sunned with small stains at foot.
Copy expanded with the illustrated menu from the publishing society's dinner at Drouant signed by André Jacquemin.
Our copy is exceptionally expanded with two original pencil drawings dated and signed by André Jacquemin; the first titled "L'épervier blessé" which André Jacquemin inscribed to Nérée Boubée, the second titled "Frégate".
It also includes, like 20 other copies of the edition, 1 duplicate suite in 2 states on Malacca paper of the drypoints.

First edition consisting of an offprint from issues 261 and 262 of the journal Critique.
Handsome and rare copy despite covers slightly and marginally sunned.

First edition, one of 130 numbered copies on pure thread paper, deluxe copies after 25 on Holland paper.
Fine copy.

First edition, one of 63 numbered copies on pure thread paper, the only deluxe copies.
A handsome copy despite the spine being very lightly sunned without significance.

First edition, one of 43 numbered copies on pure linen paper, the only deluxe copies.
Handsome copy.

First edition, one of 53 numbered copies on pure linen paper, the only deluxe copies.
Handsome copy despite the spine very lightly sunned without consequence.

First edition, one of 55 numbered copies on pure thread paper, the only deluxe copies.
Fine and rare copy of this work which was adapted for cinema in 1967 by Tony Richardson, assisted by Christian de Chalonge and Norman J. Warren, starring Jeanne Moreau, Orson Welles, Ian Bannen and Vanessa Redgrave.

First edition illustrated with 421 illustrations (vignettes, half-page, hors-texte, double-page...) with an unparalleled profusion of images. Printed in double columns. Among the illustrators who contributed to this rather rare edition are not only Gustave Doré, but Castelli, Foulquier, Gustave Roux, F. Pierdon... The edition uses all the techniques of Romantic printing to insert the images, framing the text, as vignettes, in double-page format in the manner of L'Illustration, and makes reading the experience of total immersion in the world of the Arabian Nights, oriental and magical.
Contemporary green half morocco with corners signed Petit (successor to Simier). Spine with raised bands in 4 compartments richly decorated and inlaid in red. Gilt fillets on boards, lined. Top edge gilt. Spine uniformly lightened. Rubbing. Fresh overall with rare scattered foxing, except on the first 3 leaves, which are spotted.

First edition printed on ordinary paper.
Handsome copy despite a tiny stain on the first cover.
Signed and inscribed copy from Jean d'Ormesson to writer Suzanne Prou.

Original photograph. Vintage silver print in black and white. Artist's proof signed on verso. Stains on verso.
Portrait of writer Léon Malet.
In 1983 began a regular collaboration between Bruno de Monès and Le Magazine littéraire which would endure until the mid-1990s.

Original photograph. Vintage gelatin silver print in black and white. Artist's proof signed on verso.
Portrait of writer Fernand Braudel, captioned in felt-tip pen at bottom left.
In 1983 began a regular collaboration between Bruno de Monès and Le Magazine littéraire which would endure until the mid-1990s.

Original photograph. Vintage black and white gelatin silver print. Artist's proof signed on verso.
Portrait of philosopher Michel Foucault.
In 1983, Bruno de Monès began a regular collaboration with Le Magazine littéraire which would continue until the mid-1990s.

Original photograph. Vintage black and white gelatin silver print. Artist's proof signed on verso.
Portrait of philosopher Michel Foucault at his desk.
In 1983, Bruno de Monès began a regular collaboration with Le Magazine littéraire which would continue until the mid-1990s.

First edition printed in 325 copies, ours unnumbered.
Publisher's binding in half sky blue flexible boards, smooth and unlettered spine in sand-colored cloth, a vignette representing a rose glued to the center of the first board of the first volume, a vignette representing a pear at the center of the first board of the second volume.
Work illustrated with 100 watercolors hors-texte reproduced by Daniel Jacomet.
Introduction by Guillaume Janneau.
Handsome copy.

First edition, one of 45 numbered copies on pure laid paper, the only deluxe copies.
Spine and boards lightly and marginally sunned without consequence, otherwise a handsome copy.

Definitive, important edition, revised by the author, and on which all future editions will be based. It should not be confused with the counterfeit (which can be distinguished by some differences) published on the same date and which is only a reprint of the first editions published in 1715 (first 2 volumes), 1724 (third volume) and 1735 (fourth volume) where the figures are reversed and of rather mediocre printing (thus the canon in the first figure appears on the right whereas he should be on the left).
This edition is rare and sought after. "This edition, which has become uncommon, presents numerous corrections and considerable additions by the author, which amount to no less than a hundred pages; it should therefore be regarded as the first good edition of Le Sage's masterpiece." Brunet, III, 1006. Title pages in red and black. Headcap of volume 1 partly lacking, that of volume II worn, revealing the headband. A small lack at the head of volume IV. Upper joint of volume IV split at tail. Narrow incipient crack at lower joint of volume I. Small lack to volume label of volume IV. Some corners slightly bumped. Overall relatively fresh, the first leaves of each volume with some pale foxing or yellowing. Good copy.
The illustration comprises 32 figures re-engraved from the originals published in the 3 first editions.
Full marbled and glazed calf binding. Smooth spine decorated. Red morocco title label, red morocco volume labels.
It is now perfectly established that one cannot accuse Lesage's immortal masterpiece, the last baroque fire of the picaresque novel, of plagiarism; if Lesage drew his material from elsewhere, it nonetheless remains that Gil Blas is an original and personal work. We find there the misadventures of a picaro, as roguish as possible, who through his multiple encounters creates a satirical portrait of contemporary society.

Original photograph. Period gelatin silver print in black and white. Artist's proof signed on verso.
Portrait of writer Léo Malet.
In 1983 began for Bruno de Monès a regular collaboration with Le Magazine littéraire which would continue until the mid-nineteen-nineties.

Original photograph. Period silver print in black and white. Artist's proof signed on verso.
Portrait of writer Georges Dumézil.
In 1983 Bruno de Monès began a regular collaboration with Le Magazine littéraire which would continue until the mid-1990s.

Original photograph. Period gelatin silver print in black and white. Artist's proof signed on verso.
Portrait of writer Léo Malet.
In 1983 Bruno de Monès began a regular collaboration with Le Magazine littéraire which would continue until the mid-1990s.

First edition illustrated with an original etching by the author as frontispiece.
Shaded parchment covers with some foxing, handsome interior condition.

First printing of the 31 original woodcuts in black by Joseph Sima, one of 210 numbered copies on Montval laid paper, ours unnumbered.
Handsome copy complete with its fragile glassine paper covers.

First edition, a Service de Presse (advance) copy.
Spine very slightly sunned, the first gathering was poorly cut causing a small lack at the head of the first endpaper.
Autograph inscription signed by André Dhôtel to journalist Evelyne Schlumberger.

Original photograph. Contemporary gelatin silver print in black and white. Artist's proof signed on verso.
Portrait of writer Léo Malet.
In 1983 began for Bruno de Monès a regular collaboration with Le Magazine littéraire which would last until the mid-nineteen-nineties.

Original photograph. Period gelatin silver print in black and white. Artist's proof signed on verso.
Portrait of writer Fernand Braudel.
In 1983 began for Bruno de Monès a regular collaboration with Le Magazine littéraire which would last until the mid-nineties.

Original photograph. Period gelatin silver print in black and white. Artist's proof signed on verso.
Portrait of philosopher Michel Foucault seated on a chair.
In 1983 began for Bruno de Monès a regular collaboration with Le Magazine littéraire which would last until the mid-nineties.

First edition in French, a Service de Presse (advance) copy.
Minor scuffs to the slightly wrinkled spine.
Signed autograph inscription by Alejo Carpentier, in French, to journalist Evelyne Schlumberger

Original photograph. Vintage gelatin silver print in black and white. Artist's proof signed on verso.
Portrait of philosopher Michel Foucault.
In 1983 began for Bruno de Monès a regular collaboration with Le Magazine littéraire which would continue until the mid-1990s.

Original photograph. Vintage silver gelatin print in black and white. Artist's proof signed on verso.
Portrait of writer Jean-Louis Bory and his friend.
In 1983 began for Bruno de Monès a regular collaboration with Le Magazine littéraire which would continue until the mid-1990s.

Original photograph. Vintage gelatin silver print in black and white. Artist's proof signed on verso.
Portrait of philosopher Michel Foucault.
In 1983, Bruno de Monès began a regular collaboration with Le Magazine littéraire which would continue until the mid-1990s.

Original photograph. Vintage gelatin silver print in black and white. Artist's proof signed on verso.
Portrait of writer Léo Malet.
In 1983, Bruno de Monès began a regular collaboration with Le Magazine littéraire which would continue until the mid-1990s.

Original photograph. Vintage black and white gelatin silver print. Artist's proof signed on verso.
Portrait of writer Théodore Monod.
In 1983, Bruno de Monès began a regular collaboration with Le Magazine littéraire which would last until the mid-1990s.

Original photograph. Vintage black and white gelatin silver print. Artist's proof signed on verso.
Portrait of writer Jorge Amado.
In 1983, Bruno de Monès began a regular collaboration with Le Magazine littéraire which would last until the mid-1990s.

First edition, a Service de Presse (advance) copy.
Handsome copy despite the slightly ridged spine.
Signed autograph inscription from Julien Green to journalist Evelyne Schlumberger.

First edition, one of 28 copies on Madagascar paper from Navarre paper mills, deluxe copy.
Half-binding in glazed brown box calf with bands, smooth spine with six compartments separated by gilt fillets and decorated with diagonal applications of glazed brown and ivory box calf, gilt date at foot of spine, light grey kromekote paper boards, covers and spine preserved, top edge gilt on witness, slipcase with brown glazed box calf borders, binding signed by Jean-Paul Miguet.
Superb copy very elegantly bound by Jean-Paul Miguet.

First edition, one of 130 copies on laid Arches paper, ours specially printed for the President of the French Republic Alexandre Millerand, the only deluxe copies.
Work illustrated with 18 plates and 1 map.
Library shelf label pasted at foot of endpaper.
Autograph inscription signed by General Charles Mangin to President of the Republic Alexandre Millerand on the shaded endpaper.

Complete series of 28 original hand-colored lithograph plates, all heightened with gum-arabic, captioned and numbered ; 20 plates of Le Carnaval à Paris and 8 plates of Les Bals masqués. Includes the 8 leaves of advertisments bound at rear.
Discreet repairs and foxing on some plates.

Original color print, printed on laid paper, signed at the bottom right of the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full bloom of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some outlined in gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlighted and sublimated the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations featured no real model, but only the idea that the illustrator had of the fashion of the day.
La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic excellence and visual unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought several years earlier: Vogue magazine.
Before the illustration on the last page of the double sheet, text by Caylus "Le bois dans la mode".

Original color print, printed on laid paper.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full bloom of art deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités." Georges Charensol reports the words of the editor-in-chief: "In 1910, he observes, there existed no truly artistic fashion journal representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because in fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts such as George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton is a decisive stage in fashion history. Combining aesthetic requirements and plastic unity, it brings together for the first time the great talents from the worlds of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.
On the verso of the illustration, 10 figures in black representing garters and suspenders.

Original color print, printed on laid paper.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full bloom of art deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités." Georges Charensol reports the words of the editor-in-chief: "In 1910, he observes, there existed no truly artistic fashion journal representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because in fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts such as George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton is a decisive stage in fashion history. Combining aesthetic requirements and plastic unity, it brings together for the first time the great talents from the worlds of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.
On the verso of the illustration, 5 figures in black representing feather fans, lace, etc.

Original color print, printed on laid paper, signed at bottom right.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were addressed to bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on beautiful laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "In 1910, he observes, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, unknown for the most part when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations do not feature any real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brings together for the first time the great talents from the worlds of arts, letters and fashion and establishes, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.
On the verso of the illustration, 5 figures in black representing the shoe, models by Perugia.

Original color print, printed on laid paper, signed at bottom left of the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were addressed to bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on beautiful laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "In 1910, he observes, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, unknown for the most part when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations do not feature any real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brings together for the first time the great talents from the worlds of arts, letters and fashion and establishes, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.
On the verso of the illustration, 6 figures in black representing the button in fashion.

Original color print, printed on laid paper.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full flowering of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications « s'adressent aux bibliophiles et aux mondains esthètes » ["address themselves to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are made using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then « Art, modes et frivolités » ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » ["In 1910, he observes, there was no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, unknown for the most part when Lucien Vogel called upon them, would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic requirements and plastic unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the « petit journal mourant » ["little dying journal"] that Nast had bought a few years earlier: Vogue magazine.
On the verso of the illustration, 4 black figures representing earrings.

Original color print, printed on laid paper, signed at the bottom right of the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full flowering of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications « s'adressent aux bibliophiles et aux mondains esthètes » ["address themselves to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are made using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then « Art, modes et frivolités » ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » ["In 1910, he observes, there was no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, unknown for the most part when Lucien Vogel called upon them, would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic requirements and plastic unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the « petit journal mourant » ["little dying journal"] that Nast had bought a few years earlier: Vogue magazine.
On the verso of the illustration, 8 black figures representing the use of artificial flowers.

Original color print, printed on laid paper, signed lower right on the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists during the height of the Art Deco movement.
The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités." Georges Charensol reports the words of the editor-in-chief: "In 1910, he observes, there existed no truly artistic fashion journal representative of the spirit of its time. I therefore thought of creating a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly came to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton represents a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.

Original color print, printed on laid paper, signed lower right on the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists during the height of the Art Deco movement.
The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités." Georges Charensol reports the words of the editor-in-chief: "In 1910, he observes, there existed no truly artistic fashion journal representative of the spirit of its time. I therefore thought of creating a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly came to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton represents a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.

Original color print, on laid paper, signed lower left of the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is notably illustrated with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were addressed to bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are made using the metal stencil technique, heightened in colors and some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observes, there was no truly artistic fashion journal representative of the spirit of its time. So I was thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine was immediate, not only in France, but also in the United States and South America.
Originally, Vogel brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton marks a decisive stage in the history of fashion. Combining aesthetic demands and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.

Original color print, on laid paper, signed lower right of the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is notably illustrated with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were addressed to bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are made using the metal stencil technique, heightened in colors and some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observes, there was no truly artistic fashion journal representative of the spirit of its time. So I was thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine was immediate, not only in France, but also in the United States and South America.
Originally, Vogel brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton marks a decisive stage in the history of fashion. Combining aesthetic demands and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.
Before the illustration on the last page of the double sheet, text "Pour Cendrillon" ["For Cinderella"], woman's shoe.

Text on double page by Vaudreuil illustrated with four original color prints finely heightened with palladium, printed on laid paper, signatures of George Barbier on the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some outlined in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "In 1910, he observes, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of creating a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly come to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic demand and plastic unity, it brings together for the first time the great talents of the world of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.

Text "Flacons" on double page by Marcel Astruc illustrated with five original colored drawings in the text by Mario Simon.
Original print by Mario Simon on the last page of the double sheet.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were aimed at bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some outlined in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "In 1910, he observes, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of creating a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly come to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic demand and plastic unity, it brings together for the first time the great talents of the world of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.

Original colour print, printed on laid paper, signed at bottom left of the plate.
On a double leaf, text by Celio "Arrangements de coiffures" ["Hair arrangements"] illustrated with 8 sketches in the text by Benito.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists during the full flowering of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 colour plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "s'adressent aux bibliophiles et aux mondains esthètes" ["were addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are produced using the metal stencil technique, enhanced in colours and some highlighted in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités" ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, unknown for the most part when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton will largely inspire the new composition and aesthetic choices of the "petit journal mourant" ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.

Original colour print, printed on laid paper, signed at bottom left of the plate.
On a double leaf, text by Georges Armand Masson "Le bain des enfants" ["Children's bath"] illustrated with 5 sketches in the text by Helen Smith.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists during the full flowering of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 colour plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "s'adressent aux bibliophiles et aux mondains esthètes" ["were addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are produced using the metal stencil technique, enhanced in colours and some highlighted in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités" ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, unknown for the most part when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton will largely inspire the new composition and aesthetic choices of the "petit journal mourant" ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.

Original color print, printed on laid paper.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full bloom of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are made using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure began in 1912 when Lucien Vogel, man of society and fashion - he had already participated in the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the editor-in-chief's words: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic demands and plastic unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "little dying journal" that Nast had bought a few years earlier: Vogue magazine.

First edition, a Service de Presse (advance) copy.
A small tear at the foot of the slightly sunned spine, small stains on the boards.
Signed autograph inscription from Nathalie Sarraute to journalist Evelyne Schlumberger.

First edition, one of the rare copies on Holland paper of which no mention is made.
Small tears at the foot of the spine, some minor foxing, a full-margined copy.
Signed autograph inscription by Robert de La Sizeranne to the diplomat, politician and historian Gabriel Hanotaux on the shaded half-title page.

Original color print, printed on laid paper, signed at the bottom right of the plate.
A tiny tear in the right margin of the plate without damage to the illustration.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full bloom of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2,000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "address bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observes, there was no fashion magazine that was truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. It is these same illustrators who create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic excellence and plastic unity, it brings together for the first time the great talents of the world of arts, letters and fashion and imposes, through this alchemy, a completely new image of women, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little magazine" that Nast had bought a few years earlier: Vogue magazine.
On the verso of the illustration, 5 figures in black "Ombrelles pour l'été qui vient" ["Parasols for the coming summer"].

Original color engraving, printed on laid paper, signed lower right on the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists during the flourishing of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "s'adressent aux bibliophiles et aux mondains esthètes" ["are addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu "La Gazette du bon ton" ["La Gazette du bon ton"] in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The engravings are produced using the metallic stencil technique, heightened in colors and some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités" ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observes, there existed no fashion journal truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" ["A great art publisher. Lucien Vogel"] in Les Nouvelles littéraires, n°133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly come to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic demands and plastic unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, through this alchemy, an entirely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Acquired in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "petit journal mourant" ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.
On the reverse of the illustration, 5 black figures "La cravate pour hommes" ["Men's neckties"].

Original color engraving, printed on laid paper, signed lower right on the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists during the flourishing of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "s'adressent aux bibliophiles et aux mondains esthètes" ["are addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu "La Gazette du bon ton" ["La Gazette du bon ton"] in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The engravings are produced using the metallic stencil technique, heightened in colors and some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités" ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observes, there existed no fashion journal truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" ["A great art publisher. Lucien Vogel"] in Les Nouvelles littéraires, n°133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly come to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic demands and plastic unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, through this alchemy, an entirely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Acquired in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "petit journal mourant" ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.
On the reverse of the illustration, 7 black figures "La lingerie - le mouchoir" ["Lingerie - the handkerchief"].

Original color print, printed on laid paper, signed at lower right of the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists during the flourishing of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. Upon their publication, these luxurious publications "address bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin typeface, taken up again in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some outlined in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in Femina magazine - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observes, there existed no truly artistic fashion journal representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic demands and visual unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and establishes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.
On the verso of the illustration, 3 black figures "Le soulier par Perugia" ["The shoe by Perugia"].

Original color print, printed on laid paper.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists during the flourishing of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. Upon their publication, these luxurious publications "address bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin typeface, taken up again in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some outlined in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in Femina magazine - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observes, there existed no truly artistic fashion journal representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The magazine's success is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic demands and visual unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and establishes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.
On the verso of the illustration, 7 black figures representing hand mirrors and mirrors.

Original color print, printed on laid paper.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full bloom of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications « s'adressent aux bibliophiles et aux mondains esthètes » ["are addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are made using the metal stencil technique, heightened in colors and some underlined with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then « Art, modes et frivolités ». Georges Charensol reports the words of the editor-in-chief: « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » ["In 1910, he observes, there existed no fashion journal truly artistic and representative of the spirit of its era. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly came to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations featured no real model, but only the illustrator's idea of the day's fashion.
La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic exigency and plastic unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the « petit journal mourant » ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.
On the reverse of the illustration, 6 figures in black: the fashion of veils.

Original color print, printed on laid paper, signature at bottom right of the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full bloom of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications « s'adressent aux bibliophiles et aux mondains esthètes » ["are addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are made using the metal stencil technique, heightened in colors and some underlined with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then « Art, modes et frivolités ». Georges Charensol reports the words of the editor-in-chief: « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » ["In 1910, he observes, there existed no fashion journal truly artistic and representative of the spirit of its era. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly came to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations featured no real model, but only the illustrator's idea of the day's fashion.
La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic exigency and plastic unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the « petit journal mourant » ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.
On the reverse of the illustration, 6 figures in black: how to wear the hour.

First edition, a Service de Presse (advance) copy.
Spine very slightly sunned and creased without gravity, small stains on the second cover.
Signed autograph inscription from Louis Aragon to the journalist Evelyne Schlumberger.

First edition, one of the Service de Presse (advance) copies.
Spine slightly sunned with small tears at head and foot, three marginal stains on the back cover, covers slightly soiled.
Signed and inscribed by Jacques Audiberti to journalist Evelyne Schlumberger: "... homage from a baroque..." enriched with a drawing reproducing her face.