H. Piazza

First edition, one of 800 numbered copies on B.F.K velin.
Work illustrated with sixteen colour compositions sometimes enhanced with gold, including 25 full-page by the Orientalist painter Etienne Dinet, ornamentation and decoration by Mohammed Racim.
Binding in full red morocco, spine in four compartments enhanced with gilt stippling and richly decorated with listels in panels with inlaid lilies in the corners and Moorish mosaic motifs in green and tan morocco, date at the foot, boards richly decorated with a large frame of black morocco listel and gilt fillets and stippling, important Moorish-inspired motifs in green morocco stamped with black arabesques, gilt dots, gilt fers-de-lance and fleurs-de-lys in orange morocco inlaid in the corners, important motif in green tan and orange morocco, stamped with black arabesques, gilt dots and fer-de-lance in the centre of the boards, pastedown endpapers lined with a large frame in red morocco decorated with green and tan listels, gilt fillets and stippling, fleurs-de-lys in green, orange and tan morocco in the corners, triple marbled endpapers, cover boards and spine preserved, gilt stippling on the leading edges, gilt roll tooling and stippling on the spine-ends, slipcase lined with paper and edged with red morocco, contemporary binding signed by Hauttecoeur.
Remarkable work, magnificently bound in the Arabic taste.

Edition decorated with 20 unpaged original colour illustrations by Léon Carré, one of the 135 numbered copies on Japan Imperial containing an inventory of all the illustrations on thin vellum, print after 25 Japan.
Full chocolate brown morocco binding, spine in four compartments set with floral motifs consisting of green, mauve and purple mosaic morocco pieces, blind roll tooling on the caps, frame of a beige mosaic morocco strip on the boards enriched with gilt dots in the corners and pieces of green, brown, purple and mauve mosaic morocco in a floral and leaf design, frame of seven gilt fillets and a chocolate brown mosaic morocco strip on the paste downs in full Havana morocco, watered silk endpapers embroidered with silver threads, following endpapers marbled, black fillets on the leading edges, covers and spines preserved, all edges gilt, slipcase edged in chocolate brown morocco, marbled paper boards, interior in chocolate brown paper, superb mosaic binding signed Marius Michel.
A very beautiful copy perfectly set in a full mosaic, lined morocco binding by Michel.

Edition printed with 1500 copies and decorated with original colour illustrations by Edmond Dulac.
Work decorated with 10 illustrations in gold and in colour by Edmond Dulac. A pleasant copy.
Half bottle-green shagreen binding, spine lightly browned decorated with gilt arabesques, frame of gilt fillets on the marbled paper boards, comb-patterned endpapers, top edge gilt, preserved covers, contemporary binding signed Flammarion Vaillant.

Cover of L'Estampe Moderne n°23 Mars 1899

L'Estampe Moderne, Imprimerie Champenois pour CH. Masson & H.Piazza, Paris March 1899, 41 x 56 cm, one leaf

Original large margin print in black and white serving as the cover of the famous monthly publication Estampe Moderne. Entirely printed in black and white, our print is the cover of the rare collection in a large-margin luxury print of the first year of publication. Artist's signature on the board and number of the luxury print added in pencil.
A magnificent monthly French publication published between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as is stipulated on the protective tissue, were specially made for the magazine by each artist. There are thus 100 prints that appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalism and the Belle Epoque. Each delivery of four prints was printed with 2000 copies and sold for 3.50F, with 100 on Japan offered for 10F. Henri Piazza also planned a high-luxury confidential print: 50 copies with wide margins on Japan and 50 in black and white at the considerable price of 30F.
French collector's interest in artistic posters grew from the beginning of the 1890s. Octave Uzanne invented the term “affichomanie” (“poster-mania”) for this growing interest. The poster, originally common-place and plastered across the streets of the capital, then became an object of art and its ephemeral medium precious and dedicated to conservation.
Piazza decided to remove the poster from its advertising role and elevate it to the rank of a work of art in its own right, in the same way as the luxury illustrated book. Thus, he composed a prestigious collection of entirely original works, by the most well-known European artists of the time: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.

The publisher also included in his project a Czech artist, newly arrived in Paris, Alfons Mucha “qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste.” “who has recently emerged in France and who has straightaway conquered a significant place in the public's favour. As in his posters, that everyone knows and desires, he shows us here the varied resources of his multiple and sure talent as an artist, decorator and colourist.” (caption printed on the Salomé protective tissue). Incidentally, it is also to him that the first premium of the magazine will be entrusted, offered “à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne” “to all the subscriber of the twelve annual deliveries of L'Estampe moderne” as well as the famous illustration of the covers.

A very beautiful copy.

"La femme au paon" - Original lithograph on Japan paper - L'Estampe Moderne

L'Estampe Moderne | Imprimerie Champenois pour C. H. Masson & H. Piazza | Paris (July 1897) | subject: 22.5 x 34 cm | plate: 40.8 x 55 cm | one leaf and one guard

Rare original color lithograph by Louis John Rhead for L'Estampe Moderne, series no. 3, published in July 1897.
One of 50 grand luxe proofs printed on Japan paper with wide margins, signed by the artist in the stone, publisher's embossed stamp showing a child in profile to lower margin, numbered stamp of the de luxe printing to verso, upper margin of proof slightly sunned; the print itself preceded by a silk paper guard with the name of the artist, the title of the work and an introduction to the artist as well as a blank guard leaf.
A magnificent monthly French publication that appeared between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs that, unlike those in other magazines like Les Maîtres de l'Affiche and as is stipulated on the guard sheets, were specially made by each artist for the magazine. There are thus 100 prints that appeared in total, covering the major artistic currents of the late 19th Century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalists and the Belle Epoque. Each fascicule of four prints was printed in 2,000 copies and sold for 3.50F, with 100 on Japan paper sold at 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on Japan paper with wide margins and 50 in black and white on China paper at the considerable price of 30F.
This well-sized print is superbly printed in colors on the most prestigious of papers: Japan. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its absorptive qualities for ink and its affinity for colors make it the ideal support for these lovely lithographs.
The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this growing interest: affichomanie, or poster mania. The poster, originally not rare and posted up in the streets of the capital, thus became a work of art and its ephemeral background became precious and essential for conservation.
Piazza decided to extract the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He thus put together a prestigious collection of entirely original works by the most fashionable European artists of the age: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
A fine copy in the artist's Art Nouveau style.

The only edition, of 252 copies, this one of the 215 on vélin de Rives paper, hand-numbered by the publisher.

Rare signature by Mucha to title.

Cover fully illustrated with a large image in black and heightened in gold by Mucha, with 78 floral borders to text pages also by him, each also including a historiated decorative band at head.

Illustrated edition with 39 original compositions in color by Kay Nielsen and printed in 1500 copies numbered on Japan.
A small sunning at the bottom of the spine, otherwise nice copy.

Fêtes galantes
L’édition d’art H. Piazza | Paris 1928
| 23.5 x 31 cm | paper covers
With 23 original watercolor and stencil illustrations by George Barbier heightened in gold and silver, one of 975 numbered copies on pur fil paper.
Endpapers lightly sunned in part, otherwise a good copy.
The 23 illustrations comprise: two on the covers, a frame to title and 20 hors texte.

Edition printed with 1500 numbered copies on Japan, illustrated with 88 compositions by Arthur Rackham: 1 bicolour illustration for the cover, 16 captioned colour plate illustrations under tissue paper, 6 plate illustrations in black, 10 in-texts, 16 vignettes, 17 culs-de-lampes and 22 decorative letters.
First cover board very lightly cracked at the top and the bottom, otherwise a beautiful copy.

First edition, one of 180 copies on vélin à la forme paper.
Spine skillfully restored.
With 132 original lithographs by Alfons Mucha.
A good and rare copy.

New edition with 24 original illustrations by Henri Cassiers, one of 800 numbered copies on vélin Cygne paper.
A good copy.

First edition, one of 145 copies on Japon Impérial paper without the black and white suite of illustrations mentioned in the justification, the tirage de tête after 35 copies on Japan Impérial with a suite in color and a suit in black and white.
With 19 plates hors-texte in colors and heightened in gold, 4 calligraphic initials in colors and figures to text also in colors by the Russian artist Boris Zworkyn.
Vertical crack to spine, but a very good and fresh copy with no spotting.

First edition illustrated with 21 original compositions in colors of Charles Samson, one of 100 numbered copies on Arches, deluxe edition.
Binding half morocco green bottle with corners, back with four nerves set with gold dotted dishes of cardboard so wooden guards and contreplats of handmade paper, preserved covers and backs, gilded head.
As it is stated in the justification of the draw-in fine, the book is full of suites in black and color illustrations.
In addition, our model is exceptionally enriched with three original color drawings signed by Charles Samson representing the Rue Mazarine, Boulevard du Palais and the Rue des Saules and montmartroises vines.
Some small minor foxing mainly affecting the draw justification page and the latest guards.
Pleasant specimen exceptionally enriched with three original drawings by Charles Samson.