Paris

First edition, a Service de Presse (advance) copy.
Light worming to board margins.
Signed and inscribed by Bertrand de Jouvenel to Alfred Fabre-Luce.
Printed statement crossed out, probably by Bertrand de Jouvenel, below the title on the title page.

First edition, one of 300 numbered copies on white laid paper.
Boards marginally and lightly sunned.
Work illustrated with 8 photographs by Edouard Boubat.
Autograph inscription signed by Robert Crégut to Jacques Jouheaud: "... ce livre de poids à un homme de poids..." ["... this weighty book to a man of weight..."]

First bilingual edition published under the direction of André Magnin on the occasion of the exhibition of paintings by Chéri Samba, important painter from the Democratic Republic of Congo, at the Cartier Foundation in 2004.
Publisher's binding, blue cardboard boards, smooth yellow cardboard spine, illustrated front board in relief.
Work illustrated with reproductions of works by Chéri Samba.
Fine autograph inscription dated and signed by Chéri Samba to Jean Pierre Maury, last of the great molder-figurine artists: "Pour un grand Jean Pierre Maury et pour nos grands rires!!! Chaque fois que l'on se rencontre, on s'éclate tjs sans trop savoir pourquoi. Je t'aime fort grand Maury. Chéri Samba. 21 Mai 2004" ["For a great Jean Pierre Maury and for our great laughs!!! Every time we meet, we always have a blast without really knowing why. I love you dearly great Maury. Chéri Samba. 21 May 2004"]

First French edition, one of 245 numbered copies on alfa du Marais paper, the only deluxe copies.
A slight tear at the head of the spine.
Handsome copy.

The first collected edition, of which there were no deluxe copies.
Spine slightly sunned as generally the case, otherwise a handsome copy.

First edition, one of 35 numbered copies on pure laid paper, the only deluxe copies after 4 nominative pure laid copies.
A small sunning to the head of the front cover.
Handsome copy illustrated by the author.

Autograph letter signed by Antoine Augustin Parmentier addressed to citizen Chely, chief pharmacist of the military hospital of Calais.
Transverse folds inherent to the mailing and small paper loss due to the unsealing of the missive.
"Je suis fâché mon cher camarade, que le C^en [Citoyen] Lavoisier m'ait envoyé un pâté sans doute dans l'intention de m'intéresser en faveur de son fils ; mais je dois vous assurer que les présen[t]s me tiédissent plutôt encore sur le compte de ceux qui m'en font au reste j'enverrais au jeune homme des livres pour la valeur du pâté [...]" ["I am sorry my dear comrade, that Citizen Lavoisier sent me a pâté undoubtedly with the intention of interesting me in favor of his son; but I must assure you that gifts rather cool me towards those who give them to me, moreover I would send the young man books for the value of the pâté [...]"]
An amusing letter evoking a namesake of the great physicist executed the previous year without having left any descendants.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy
Spine very slightly sunned without gravity.
Signed autograph inscription from Emile G. Léonard to Alfred Fabre-Luce.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy
Handsome copy complete with publisher's slip.
Autograph inscription signed by Gaëtan Bernoville to Alfred Fabre-Luce: "... au vaillant et lucide directeur de l'Assaut..." ["...to the valiant and lucid director of l'Assaut..."]

The first edition, of which there were no deluxe copies.
Iconography, retaining publisher's wraparound band.
Some foxing affecting mainly the endpapers, less pronounced foxing on the half-title page which bears the inscription.
Rare autograph inscription signed by Abbé Pierre to a man named Alain.

First edition.
Handsome copy.
Humorous autograph inscription signed by Plantu to Frédéric Ferney integrated into a comic strip speech bubble escaping from DSK's mouth and enhanced with two drawn hearts.

First edition.
Handsome copy.
Humorous autograph inscription signed by Plantu to Frédéric Ferney integrated into a comic strip speech bubble escaping from the mouth of the presidential candidate standing on the steps of the Elysée Palace and chanting "Vote Frédéric Ferney".

First edition.
Handsome copy.
Autograph inscription dated and signed by Alain Juppé to Alain Kerlorc'h: "... de montois à montois..." ["... from one person from Mont to another person from Mont..."]

First edition.
Publisher's full black cloth binding, smooth spine, complete with its illustrated Mondrian-style dust jacket, black paper endpapers and pastedowns, bookplate pasted on an endpaper.
Handsome copy illustrated with reproductions of works by Piet Mondrian.
Autograph inscription dated and signed by Bernard-Henry Lévy to Régine Kerlorc'h.

First edition.
Publisher's full black cloth binding, smooth spine, complete with illustrated dust jacket, black paper endpapers and pastedowns, bookplate pasted to one endpaper.
Handsome copy illustrated with reproductions of works by Piero della Francesca.
Dated and signed autograph inscription from Bernard-Henry Lévy to Alain Kerlorc'h.

First edition.
Handsome copy.
Dated and signed autograph inscription from Alain Juppé to Alain Kerlorc'h.

First edition illustrated with 48 color lithographs by the author, one of a few named copies on japon reserved for the principal collaborators of the publication, ours specially printed for the celebrated bibliophile Colonel Sickles, deluxe issue.

This copy is complete, as stipulated in the justification, with the duplicate set of lithographs in black and in color.

The work is also illustrated with 40 decorated initials designed by the prestigious bookbinder Paul Bonet.

This is Maurice de Vlaminck's most important illustrated book, which took him nearly ten years to complete.

A fine copy, complete with its slipcase and box.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Signed and inscribed by Bertrand de Jouvenel to Alfred Fabre-Luce and his wife Charlotte: "... ce travail de documentation d'où l'on peut tirer des faits à l'occasion. Il a été fait pour servir de 'silo à faits' avec respectivement, mes hommages et mes amitiés..." ["... this work of documentation from which one can draw facts as needed. It was made to serve as a 'silo of facts' with respectively, my respects and my friendship..."]

First edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Jean-Pierre Chevènement to Alain Kerlorc'h.

First edition.
Handsome copy.
Autograph inscription signed by the author to Alain Kerlorc'h.

Edition published the same year as the first edition.
Publisher's binding in full green cloth, smooth spine.
Handsome copy retaining its glassine wrapper, bookplate pasted to endpaper.
Signed autograph inscription from Alphonse Boudard to Alain Kerloc'h: "... un peu de cinoche de derrière les caméras..." ["... a bit of cinema from behind the cameras..."]

First edition, a Service de Presse (advance) copy.
Minor worming to spine and boards without consequence.
Signed autograph inscription from Jean Galtier-Boissière to Alfred Fabre-Luce.

First edition, a Service de Presse (advance) copy.
Some worming affecting mainly the spine.
Signed and inscribed copy from Jean Galtier-Boissière to Alfred Fabre-Luce.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Complete with publisher's (advertising) slip.
Signed and inscribed copy from Pierre Dominique to Alfred Fabre-Luce.

First edition, one of 100 numbered copies on pure Lana rag paper, the only deluxe copies.
Fine copy.

New edition.
Publisher's binding in full burgundy cloth, smooth spine.
Light spotting to top edge.
Handsome copy complete with its glassine wrapper, bookplate pasted to endpaper.
Autograph inscription signed by Jean d'Ormesson to Alain Kerloc'h.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy complete with publisher's (advertising) slip.
Precious signed autograph inscription by Count Sforza to Alfred Fabre-Luce.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Worming mainly affecting the endpapers and edges.
Preface by Lawrence Durrell.
Signed autograph inscription by Claude Seignolle to Dominique Aury.

First edition, a Service de Presse (advance) copy.
Signed autograph inscription from André Dhôtel to Dominique Aury: "... avec toute l'amitié du romancier récidiviste..." ["...with all the friendship of the repeat offender novelist..."]

First edition on ordinary paper.
Some foxing affecting mainly the spine and front cover.
Signed autograph inscription from Jean Galtier-Boissière to Alfred Fabre-Luce.

Edition from the year of the first edition, one of the numbered copies.
Publisher's full burgundy cloth binding, smooth spine, complete with its glassine, bookplate pasted on an endpaper.
Autograph inscription signed by Jean Dutourd to Alain Kerlorc'h.

Original color print, pulled on laid paper, signed upper left of the plate.
Original engraving created for the illustration of 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.
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 for some highlighted with gold or palladium.
The adventure began in 1912 when Lucien Vogel, man of the world 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: "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 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, 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 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 contemporary fashion.
La Gazette du bon ton is a decisive step in fashion history. Combining aesthetic requirements and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of women, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

Original color print, on laid paper, signed at bottom right of the plate.
Original engraving created for the illustration of 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 "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 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, Babar's father) 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 magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel therefore assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the 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 idea the illustrator had of contemporary fashion.
La Gazette du bon ton is a decisive stage 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 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 "dying little journal" that Nast had bought a few years earlier: Vogue magazine.

Original color print on laid paper, the signature does not allow identification of the artist.
Original engraving created for the illustration of 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 "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 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, Babar's father) La 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 magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel therefore assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the 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 idea the illustrator had of contemporary fashion.
La Gazette du bon ton is a decisive stage 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 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.

Original color print, on laid paper, signed at 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 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 comprises 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "address bibliophiles and fashionable 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 executed using the metal stencil technique, heightened in colors and some outlined in gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of fashion and society - 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 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 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 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, most 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 enhance 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 show no actual model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic demands and visual 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, 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.

First edition, a Service de Presse (advance) copy.
Handsome copy despite minimal light foxing.
Precious autograph inscription signed by Jean Fontenoy to Alfred Fabre-Luce.

First edition, one of 90 numbered copies on Holland paper, deluxe issue.
A very handsome full-margined copy.

First edition, one of 90 numbered copies on Holland paper, deluxe issue.
A very handsome full-margined copy.

First edition, a Service de Presse (advance) copy.
One small stain of no consequence on the edge.
Autograph inscription signed by François Nourissier to Alfred Fabre-Luce and his wife Charlotte.

New edition.
Publisher's full mustard yellow cloth binding, smooth spine.
Light foxing spots on the top edge.
Handsome copy complete with its cellophane wrapper, bookplate pasted on an endpaper.
Autograph inscription signed by Jean d'Ormesson to Alain Kerloc'h.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Some worming affecting principally the endpapers and fore edge.
Fine signed autograph inscription from Angelo Rinaldi: " A Dominique Aury qui, la première a lu ce livre, et qui, la seule, a vu l'image dans le tapis - ajoutant cette gentillesse et cette récompense à tant de marques d'amitié, pour lui dire toute ma gratitude. Angelo Rinaldi. Paris 174." ["To Dominique Aury who was the first to read this book, and who alone saw the image in the carpet - adding this kindness and this reward to so many marks of friendship, to express all my gratitude to her. Angelo Rinaldi. Paris 174."]

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Complete with publisher's (advertising) slip.
Signed autograph inscription from Bertrand de Jouvenel to Alfred Fabre-Luce.

First edition on ordinary paper.
Some worming to spine and top edges, retaining publisher's wraparound band.
Autograph inscription signed by Edgar Faure to René and Raymond Bousquet.

First edition on ordinary paper.
Spine lightly sunned without gravity.
Fine autograph inscription signed by Marc Chadourne to Alfred Fabre-Luce: "... pour qu'il retrouve sur nos pistes croisées les domaines d'un monde qui ne rêve plus..." ["...so that he may find again on our crossed paths the domains of a world that no longer dreams..."]

Original color print, on laid paper, signed at bottom left of the plate.
A few discrete red stains affecting the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the twentieth century, celebrating the talent of French creators and artists during the flourishing of Art Deco.
The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications « 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, later adopted in 1946 by Christian Dior. The prints are created using the metallic pochoir 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 » ["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 magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel 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 such as 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 time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations show 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 « petit journal mourant » ["dying little journal"] that Nast had purchased a few years earlier: Vogue magazine.

Original color print, on laid paper, signed at top left of the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the twentieth century, celebrating the talent of French creators and artists during the flourishing of Art Deco.
The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications « 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, later adopted in 1946 by Christian Dior. The prints are created using the metallic pochoir 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 » ["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 magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel 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 such as 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 time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations show 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 « petit journal mourant » ["dying little journal"] that Nast had purchased a few years earlier: Vogue magazine.

Original color print heightened with palladium, printed on laid paper, signed at the bottom right of the plate.
Original engraving created for the illustration of 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 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 "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, heightened in colors and some highlighted 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 reported 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 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 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 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 illustrator's idea of the fashion of the day.
La Gazette du bon ton was a decisive step 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 women, 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 "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, signed at the top 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 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 "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, heightened in colors and some highlighted 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 reported 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 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 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 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 illustrator's idea of the fashion of the day.
La Gazette du bon ton was a decisive step 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 women, 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 "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, unsigned.
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 fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, later adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, enhanced in colors and some highlighted with gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already contributed to 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: « 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 was 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, mai 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel 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 including George Barbier, Bernard Boutet de Monvel, and 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 contemporary fashion.
La Gazette du bon ton marks a decisive stage in fashion history. Combining aesthetic excellence and visual unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and established, 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 purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, signed 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 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 fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, later adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, enhanced in colors and some highlighted with gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already contributed to 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: « 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 was 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, mai 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel 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 including George Barbier, Bernard Boutet de Monvel, and 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 contemporary fashion.
La Gazette du bon ton marks a decisive stage in fashion history. Combining aesthetic excellence and visual unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and established, 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 purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, signed in the lower right of the plate.
Some discreet stains, of no concern.
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.
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 comprises 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "address bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin typeface, adopted in 1946 by Christian Dior. The prints are created 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". 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 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 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 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 period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations show 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 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, La Gazette du bon ton will largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, signed in the lower right of the plate.
Original engraving created for the illustration of 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.
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 comprises 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "address bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin typeface, adopted in 1946 by Christian Dior. The prints are created 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". 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 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 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 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 period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations show 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 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, La Gazette du bon ton will largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, signed at center bottom of the plate.
Original engraving created for the illustration of 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 used a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, heightened in colors and for some highlighted 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, 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 observed, 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, May 1925). The success of the magazine was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly 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 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 is a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, 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.

First edition in French, one of 45 numbered copies on handmade paper, the only deluxe copies.
Bookplate pasted on the page facing the front free endpaper.
Spine and boards slightly discolored as is generally the case.

First edition in French, one of 41 numbered copies on pure laid paper, the only deluxe copies.
Bookplate pasted on the page facing the half-title page.
Spine and boards slightly faded as usual, handsome copy.

First edition in French, one of 41 numbered copies on pure laid paper, the only deluxe copies.
Bookplate pasted on the page facing the half-title page.
Spine and boards slightly faded as usual, handsome copy.

First edition in French, one of 41 numbered copies on pur fil, the only deluxe copies.
Bookplate pasted on the page facing the half-title page.
Spine and covers slightly faded as usual, handsome copy.

First edition in French, one of 31 numbered copies on pur fil, the only deluxe copies.
Bookplate pasted on the page facing the half-title page.
Spine and covers slightly faded as usual, handsome copy.

First edition, one of 25 numbered copies on Annam paper, deluxe copy.
Illustrated with four copperplate engravings by Charles Guyot.
Spine slightly sunned, handsome copy.

Autograph prescription signed by Dupuytren, written in black ink on the recto of a sheet of white paper.
Fold marks inherent to postal transmission.
Prescription recommending "absolute bed rest, every fortnight a moxa around the sick knee. These moxas must be the width of a 3-franc coin. They must not be maintained but left to themselves and be replaced by others as they dry out. A full bath in hot salted water, every 3 or 4 days for one hour's duration. Habitation in airy dry places exposed to the south."
Moxibustion, an ancient method of Chinese and Japanese medicine, consists of warming - using moxas (from Japanese mogusa, a variety of mugwort) - an acupuncture point and making heat penetrate through the skin.

[NEW YORK SCHOOL] Alfred L. COPLEY

Collection of six photographic negatives showing haemorrhages under a microscope
Collection of six photographic negatives (5 on plastic and 1 on glass) showing haemorrhages under a microscope made in the 1950s by Alfred L. Copley in his Parisian laboratory. Each negative, except one, is accompanied by a technical sheet on Copley's laboratory letterhead.

Under the pseudonym L. Acopley, this scientist and artist from the School of New York produced emblematic works of abstract expressionism. A doctor by training, he was particularly interested in hemorheology, in other words the study of the flow properties of blood. The negatives that we have to offer are a valuable testimony to his research and were an undeniable inspiration for his pictorial works.

His works today are preserved at the National Museum of Modern Art in Tokyo, at the Art Institute of Chicago, at the Stedelijk Museum in Amsterdam and at the Israel Museum in Jerusalem.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full blue grained sheep bindings, blue top edges, smooth spines decorated with gilt fillets.
Two small lacks to the cellophane at the head of the spine of the fifth volume, three tiny lacks to the cellophanes of the second and fourth volumes at the head of the spines, otherwise handsome set.
The set is complete with its cellophanes, its dust jackets (except for the second volume) and its slipcases.
Our copy is also complete with its 6 folding genealogical tables of the houses of Bouillon, Bourbon, Condé, Conti, Elbeuf, Guise, Soissons, Lorraine, Rohan, Le Tellier which are discussed in the "Mémoires" of the Duke de Saint-Simon.

First edition in volume.
Publisher's white cardboard binding, smooth spine, illustrated front cover.
Work illustrated with humorous drawings by Jacques Faizant.
Handsome copy despite covers slightly and partially yellowed at their margins.
Autograph inscription signed by Jacques Faizant to Jeanne Cacouault.

First edition in volume.
Publisher's full white cardboard binding, smooth spine, illustrated front cover.
Work illustrated with humorous drawings by Jacques Faizant.
Handsome copy.
Signed autograph inscription from Jacques Faizant to Jeanne Cacouault.

First edition in volume.
Publisher's binding in full white boards, smooth spine, illustrated front cover.
Work illustrated with humorous drawings by Jacques Faizant.
Handsome copy, a mention "bon anniversaire 1971" ["happy birthday 1971"] discreetly inscribed in blue ballpoint pen on the verso of the front cover.
Autograph inscription signed by Jacques Faizant to Jeanne Cacouault.

First edition published by André Castelot of these memoirs of the grandson of the Duke of Berry, one of 300 numbered copies on vellum, the only deluxe copies.
Half red shagreen binding with corners, spine lightened with five raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt.

Extremely important edition, comprising a large number of works appearing here in their first edition. The complete set of these 27 volumes is rare (Clouzot). The titles present in first edition are: Mattea, Lettres d’un Voyageur, La Dernière Aldini, Les Maîtres mosaïstes, L’Uscoque, Spiridion, Les Sept Cordes de la lyre, Gabriel, Pauline, and Un hiver à Majorque.
Illustrated with a portrait of the author at the head of the first volume.

Bound in contemporary half brown sheep, spines uniformly faded, with four raised bands decorated with double gilt panels, double gilt fillets at head and foot, marbled-paper boards, marbled endpapers and pastedowns, marbled edges, a few very lightly rubbed corners, contemporary bindings. Some occasional foxing, a light dampstain affecting the final leaves of the twenty-first volume.

A very rare complete set, in contemporary bindings.

Edition illustrated with 29 original engravings by Pierre-Yves Trémois etched and engraved and printed in 225 numbered copies on Rives vellum.
Slipcase slightly and marginally split without consequence.
Handsome copy.

First edition, one of 95 numbered copies on laid paper, deluxe copy with 95 Holland.
Half brown shagreen binding with corners, spine slightly faded with five raised bands decorated with cold fillets, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, top edge gilt.

First edition, one of 25 hors commerce copies numbered on Madagascar paper, deluxe issue after 10 Chine and 21 Holland.
Half brown shagreen binding with corners, spine with five raised bands set with cold fillets, marbled paper boards, endpapers and pastedowns, original wrappers preserved, top edge gilt on deckled edges.
Some minor worming without significance.
Autograph inscription signed by Emile Henriot to Jérome Tharaud and members of his family.

First edition illustrated with a frontispiece by Tony Johannot engraved by Andrew, Leloir and Best and mounted on China paper.
Full dark blue Russian morocco binding, spine with four raised bands set with gilt garlands, spine also decorated with triple gilt compartments and ornamented with gilt typographical motifs, gilt friezes at head and foot, gilt date at foot, gilt roulettes on headcaps, triple gilt fillet frame on covers enhanced at corners with gilt typographical motifs, raspberry watered silk endpapers and pastedowns, seven-fold gilt fillet frame on pastedowns, following endpapers of pebbled paper, bookplate pasted on an endpaper, gilt fillets on leading edges, superb romantic pastiche binding signed Noulhac.
Some foxing.
Copy magnificently bound in Noulhac's romantic pastiche binding.

First edition, one of 30 numbered copies on pure rag du Marais paper, the only deluxe copies with some pure rag du Marais hors commerce copies.
Half black shagreen binding with corners, spine with five raised bands set with cold fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt.
Handsomely bound copy.

Illustrated edition with 25 original lithographs by Yves Brayer, one of 150 numbered copies on pure rag Lafuma paper.
Covers and spine entirely browned, otherwise handsome copy.

First edition, one of 100 numbered copies on alfa paper, the only deluxe copies.
Half green shagreen binding with corners, spine with four raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, top edge gilt retaining deckled edges.
Spine discolored and sunned.

First edition, a Service de Presse (advance) copy.
Signed and inscribed by Francis Jourdain to maître Maurice Garçon.

First edition on ordinary paper, with a false statement of fifth edition.
A handsome copy considering the poor quality of this wartime paper rationed by the Nazi occupiers.

First edition printed on ordinary paper.
Autograph inscription signed by Jean Cassou to Jacques Henri Jouheaud: "... ce vieux livre que sa jeune amitié a rajeuni, de tout coeur..." ["... this old book that his young friendship has rejuvenated, wholeheartedly..."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Moving autograph inscription signed by Georges Didi-Huberman to a close couple of friends: "Pour mes Hubermont's chéris - avec toute ma tendresse. Georges" ["For my dear Hubermont's - with all my tenderness. Georges"].

New edition of the French translation illustrated with 118 engravings in the text.
Half bottle green shagreen binding, spine with four raised bands set with gilt dotted lines and decorated with gilt fleurons, some rubbing to the bands, marbled paper boards, pebbled paper endpapers and pastedowns.
Some foxing.

First edition printed in a limited edition of 200 numbered hors commerce copies.
Introduction by General Marquis de Brantes.
Handsome copy.
Autograph inscription dated and signed by General de Brantes, great-great-grandson of J.G. Lacuée, to Alfred Fabre-Luce.

First edition of the French translation, of which there were no deluxe copies, one of 170 numbered copies reserved for subscribers.
A small tear at the head of the first cover, otherwise a handsome copy of these memoirs by Julio Alvarez Del Vayo who was a member of the Spanish Socialist Workers' Party and Minister of Foreign Affairs during the Spanish Civil War.

First edition in French, of which there were no deluxe copies, one of 250 numbered copies reserved for subscribers.
Light worming to first endpaper.

First edition published by the Cercle Taleb-Moumié, of which there were no deluxe copies, one of 300 numbered copies reserved for subscribers.
Handsome copy.

First edition, one of 100 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.
About Littré, Claude Bernard, Louis Pasteur, Jean Charcot, Honoré de Balzac, Marcel Proust, Gustave Flaubert, Emile Zola, Eugène Delacroix, Stendhal, Prosper Mérimée, Georges Clemenceau, Paul Valéry, Charles Baudelaire...

First edition, one of 35 numbered copies on pure linen paper, the only deluxe copies.
Very handsome copy.

First edition, one of 40 numbered copies on Lafuma vergé pur fil paper, deluxe copies after 20 on Arches.
Back cover slightly darkened without significance, handsome interior condition.

First edition, one of 100 numbered copies on pur fil paper, the only deluxe copies.
Handsome copy.

First edition, one of 200 numbered copies on deluxe paper for each volume, the only deluxe copies.
Half brown shagreen bindings with corners, spine with five raised bands decorated with blind fillets, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, top edges gilt retaining deckled edges.
Fine copy handsomely bound.

First edition printed on ordinary paper.
Handsome copy.
Autograph inscription signed by Maurice Pons to Mademoiselle Ourévitch.