Abbé DELAUNAY, Jean FOUQUET
Heures de Maistre Estienne Chevalier, texte restitué par M. l'abbé Delaunay - Œuvre de Jehan Foucquet.
Léon Curmer|1866-1867|23.50 x 29 cm|2 volumes reliés et coffret éditeur
ff.: Alphabetical table.
€2,000
Charles HUARD (Jean RICHEPIN)
"Pêcheurs à la ligne" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Septembre 1898)|31.50 x 22 cm|une feuille
Rare original lithograph, executed by Charles Huard for L'Estampe Moderne, series number 17 published in September 1898.
One of the 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with the numbered deluxe edition stamp on the reverse, pale marginal foxing.
Lithograph inspired by a poem from the collection La Chanson des Gueux by Jean Richepin.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographies which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each installment of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Malgré toutes ses qualités, le papier de Chine, trop inconsistant, doit sa réputation, non pas à sa propre beauté, mais bien à ses affinités particulières avec l'encre d'impression. Son tissu, lisse et mou tout ensemble, est plus apte qu'aucun autre à recevoir un beau tirage. Cette propriété fait rechercher le papier de Chine pour le tirage des gravures..." ["Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..."] (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and displayed on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on par with the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€400
Alfons MUCHA
Couverture de L'Estampe Moderne n°18 octobre 1898
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Octobre 1898|41 x 56 cm|une feuille
Original black and white print with wide margins serving as the cover for the celebrated monthly publication L'Estampe Moderne. Printed entirely in black, our print is the cover of the rare deluxe wide-margin volume compilation of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographies which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each installment of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China paper at the considerable price of 30F.
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and displayed on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on par with the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist freshly arrived in Paris, Alfons Mucha "qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste." ["who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as a draughtsman, decorator and colorist."] (caption printed on the tissue guard of Salomé). It was indeed to him that the magazine's first premium was entrusted, offered "à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne" ["to all subscribers of the twelve annual installments of L'Estampe moderne"] as well as the famous cover illustrations.
Very handsome copy.
€450
Louise BRESLAU (Victor HUGO)
"Fillette à l'orange" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Octobre 1898)|24 x 33 cm|une feuille
Rare original lithograph, executed by Louise Breslau for L'Estampe Moderne, series number 18 published in October 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe issue on verso, pale marginal foxing.
Lithograph inspired by three stanzas of a poem by Victor Hugo.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other reviews such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe issue: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a beautiful format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft at the same time, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and pasted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Fine copy.
€400
Francis JOURDAIN (Léon DIERX)
"Les cygnes" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Octobre 1898)|23.50 x 33.50 cm|une feuille et une serpente
Rare original color lithograph, executed by Francis Jourdain for L'Estampe Moderne, series number 18 published in October 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, publisher's dry stamp representing a child's profile in lower margin, numbered stamp of the deluxe issue on verso; engraving preceded by a tissue guard with the artist's name, title, and a poem.
Lithograph inspired by the poem Les Cygnes by Léon Dierx, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other reviews such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe issue: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a beautiful format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satin-finished and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and pasted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Fine copy in Art Nouveau style.
€800
Francis JOURDAIN (Léon DIERX)
"Les cygnes" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Octobre 1898)|23.50 x 33.50 cm|une feuille
Rare original lithograph, executed by Francis Jourdain for L'Estampe Moderne, series number 18 published in October 1898.
One of 50 deluxe proofs printed on China paper with wide margins, publisher's dry stamp depicting a child's profile in lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the verso, pale marginal foxing.
Lithograph inspired by the poem Les Cygnes by Léon Dierx.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential luxury printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie". The poster, originally popular and plastered in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.
€450
Maurice DESVALLIERES (Jean LOMBARD)
"Porteur d'amphore" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Octobre 1898)|23 x 37.50 cm|une feuille
Rare original lithograph, executed by Maurice Desvallières for L'Estampe Moderne, series number 18 published in October 1898.
One of 50 deluxe proofs printed on China paper with wide margins, publisher's dry stamp depicting a child's profile in lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the verso, pale marginal foxing.
Lithograph inspired by an extract from Agonie by Jean Lombard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential luxury printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie". The poster, originally popular and plastered in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.
€450
Alfredo MULLER (Alfred LE ROUX)
"Bouderie" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Octobre 1898)|25 x 35 cm|une feuille et une serpente
Rare original lithograph in sanguine manner, executed by Alfredo Müller for L'Estampe Moderne, series number 18 published in October 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper mounted on Japan paper, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe printing on the verso; print preceded by a tissue guard captioned with the artist's name, title, and an extract from a work.
Lithograph inspired by an extract from Nos petites filles by Alfred Le Roux, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each installment of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "postomania." The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right, on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€800
Alfredo MULLER (Alfred LE ROUX)
"Bouderie" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Octobre 1898)|25 x 35 cm|une feuille
Rare original lithograph, executed by Alfredo Müller for L'Estampe Moderne, series number 18 published in October 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, pale marginal foxing.
Lithograph inspired by an extract from Nos petites filles by Alfred Le Roux.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each installment of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "postomania." The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right, on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€450
Alfons MUCHA
Couverture de L'Estampe Moderne n°19 novembre 1898
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Novembre 1898|41 x 56 cm|une feuille
Original black and white print with wide margins serving as cover for the famous monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe volume gathering with wide margins of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist freshly arrived in Paris, Alfons Mucha "qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste." ["who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as draftsman, decorator and colorist."] (légende imprimée sur la serpente de Salomé) ["caption printed on the tissue guard of Salomé"]. It was moreover to him that the first premium of the magazine was entrusted, offered "à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne" ["to all subscribers of the twelve annual deliveries of L'Estampe moderne"] as well as the famous cover illustrations.
Very handsome copy.
€450
Eugène DELATRE (Ermolai EREMITCH)
"Kacia" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Août) 1898|21 x 28.50 cm|une feuille et une serpente
Rare original color lithograph, executed by Eugène Delatre for L'Estampe Moderne, series number 16 published in August 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's blind stamp depicting a child's profile in lower margin, numbered stamp from the luxury printing on verso; engraving preceded by a tissue guard bearing the artist's name, title, and a poem, marginal losses due to mouse damage.
Lithograph inspired by an excerpt from the novel Kacia by Ermolai Erémitch, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2,000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and plastered in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€800
Eugène DELATRE (Ermolai EREMITCH)
"Kacia" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Août) 1898|21 x 28.50 cm|une feuille
Rare original lithograph, executed by Eugène Delatre for L'Estampe Moderne, series number 16 published in August 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on verso, pale marginal foxing.
Lithograph inspired by an extract from the novel Kacia by Ermolai Erémitch.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was published in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at the same time, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€400
Paul LEROY (Rifat OKTAY)
"Joueuses d'osselets" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Août 1898)|35 x 24 cm|une feuille et une serpente
Rare original color lithograph, executed by Paul Leroy for L'Estampe Moderne, series number 16 published in August 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper mounted on Japan paper, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered luxury edition stamp on verso; engraving preceded by a tissue guard inscribed with the artist's name, title, and a poem, traces of folds.
Lithograph inspired by an extract from Contes persans by Rifat Oktay, reproduced on the tissue guard of the print.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was published in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Orientalist style.
€1,000
Paul LEROY (Rifat OKTAY)
"Joueuses d'osselets" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Août 1898)|35 x 24 cm|une feuille
Rare original lithograph, executed by Paul Leroy for L'Estampe Moderne, series number 16 published in August 1898.
One of 50 deluxe proofs printed on wide-margined China, artist's signature in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with on the verso the numbered stamp of the deluxe printing, pale marginal foxing.
Lithograph inspired by an extract from the Contes persans by Rifat Oktay.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe Moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2,000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on wide-margined Japan and 50 in black on China at the considerable price of 30F.
This print of fine format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and displayed in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right, on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Fine copy in the Orientalist style.
€500
Alfons MUCHA
Couverture de L'Estampe Moderne n°17 septembre 1898
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Septembre 1898|41 x 56 cm|une feuille
Original black and white print with wide margins serving as cover for the celebrated monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe wide-margined volume gathering of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe Moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2,000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on wide-margined Japan and 50 in black on China at the considerable price of 30F.
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and displayed in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right, on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist freshly arrived in Paris, Alfons Mucha "who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as a draftsman, decorator and colorist." (caption printed on the tissue guard of Salomé). It was moreover to him that the first premium of the magazine was entrusted, offered "to all subscribers of the twelve annual issues of L'Estampe Moderne" as well as the famous cover illustration.
Very fine copy.
€450
Jules-Alexis MUENIER (Jules BRETON)
"Le retour des champs" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Septembre 1898)|38 x 27 cm|une feuille et une serpente
Rare original color lithograph, executed by Jules-Alexis Muenier for L'Estampe Moderne, series number 17 published in September 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe printing on the reverse; engraving preceded by a tissue guard captioned with the artist's name, the title, and a poem.
Lithograph inspired by a poem by Jules Breton, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of a beautiful format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a complete work in itself. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters amplified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "poster mania." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the symbolist style.
€700
Jules-Alexis MUENIER (Jules BRETON)
"Le retour des champs" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Septembre 1898)|38 x 27 cm|une feuille
Rare original lithograph, executed by Jules-Alexis Muenier for L'Estampe Moderne, series number 17 published in September 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the reverse, pale marginal foxing.
Lithograph inspired by a poem by Jules Breton.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of a beautiful format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters amplified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "poster mania." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the symbolist style.
€350
Jean BASEILHAC (Georges COURTELINE)
"La soupe à la chambre" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Septembre 1898)|38 x 27 cm|une feuille et une serpente
Rare original color lithograph, executed by Jean Baseilhac for L'Estampe Moderne, series number 17 published in September 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper mounted on Japan paper, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe edition on the verso; engraving preceded by a tissue guard inscribed with the artist's name, the title, and a text extract.
Lithograph inspired by an extract from Train de 8 h. 47 by Georges Courteline, reproduced on the print's tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a beautiful format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very fine lithographs.
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€700
Jean BASEILHAC (Georges COURTELINE)
"La soupe à la chambre" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Septembre 1898)|38 x 27 cm|une feuille
Rare original lithograph, executed by Jean Baseilhac for L'Estampe Moderne, series number 17 published in September 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, pale marginal foxing.
Lithograph inspired by an extract from Train de 8 h. 47 by Georges Courteline.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a beautiful format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinity with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€300
Paul RENOUARD (J. READING)
"Avant le ballet" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Septembre) |22.50 x 31.50 cm|une feuille et une serpente
Rare original lithograph, executed by Paul Renouard for L'Estampe Moderne, series number 17 published in September 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper mounted on Japan paper, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe printing on the reverse; engraving preceded by a tissue guard inscribed with the artist's name, the title, and a text extract.
Lithograph inspired by an extract from La Danse et les Ballets by J. Reading, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2,000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a complete work in itself. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
A handsome copy.
€400
Paul RENOUARD (J. READING)
"Avant le ballet" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Septembre 1898)|22.50 x 31.50 cm|une feuille
Rare original lithograph, executed by Paul Renouard for L'Estampe Moderne, series number 17 published in September 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the reverse, pale marginal foxing.
Lithograph inspired by an extract from La Danse et les Ballets by J. Reading.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2,000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
A handsome copy.
€400
Charles HUARD (Jean RICHEPIN)
"Pêcheurs à la ligne" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Septembre) 1898|31.50 x 22 cm|une feuille et une serpente
Rare original lithograph, executed by Charles Huard for L'Estampe Moderne, series number 17 published in September 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's initials in the plate, publisher's blind stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on verso; engraving preceded by a tissue guard inscribed with the artist's name, the title, and a poem.
Lithograph inspired by a poem from the collection La Chanson des Gueux by Jean Richepin, reproduced on the tissue guard of the print.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a limited deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satin and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very fine lithographs.
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€800
Manuel ROBBE (Laurent TAILHADE)
"Menuet d'automne" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Août) 1898|24 x 33 cm|une feuille et une serpente
Rare original lithograph, executed by Manuel Robbe for L'Estampe Moderne, series number 16 published in August 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper backed on Japan paper, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in lower margin, numbered stamp of the deluxe issue on verso; engraving preceded by a tissue guard with the artist's name, title, and text.
Lithograph inspired by an excerpt from Vitraux by Laurent Tailhade, reproduced on the tissue guard of the print.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic currents of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of fine format is superbly printed on the most prestigious paper: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors for artistic posters grew at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Art Nouveau style.
€700
Manuel ROBBE (Laurent TAILHADE)
"Menuet d'automne" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Août) 1898|24 x 33 cm|une feuille
Rare original lithograph, executed by Manuel Robbe for L'Estampe Moderne, series number 16 published in August 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on verso, pale marginal foxing.
Lithograph inspired by an extract from Vitraux by Laurent Tailhade.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints were published in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft at once, is more suited than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and plastered in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Art Nouveau style.
€400
André IBELS (Paul VERLAINE)
"Pantomime" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Août 1898)|35 x 26.50 cm|une feuille et une serpente
Rare original lithograph in colors, executed by André Ibels for L'Estampe Moderne, series number 16 published in August 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered luxury edition stamp on verso; engraving preceded by a tissue guard inscribed with the artist's name, title, and a poem.
Lithograph inspired by an extract from Vitraux by Laurent Tailhade, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints were published in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and plastered in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Post-Impressionist style.
€900
André IBELS (Paul VERLAINE)
"Pantomime" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Août 1898)|35 x 26.50 cm|une feuille
Rare original lithograph in red chalk manner, executed by André Ibels for L'Estampe Moderne, series number 16 published in August 1898.
One of 50 deluxe proofs printed on China paper with wide margins, publisher's blind stamp depicting a child's profile in lower margin, mounted on a sheet of laid paper with numbered stamp from the luxury printing on verso, pale marginal foxing.
Lithograph inspired by a poem by Paul Verlaine from the collection Fêtes galantes.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2,000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too insubstantial, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its tissue, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and plastered in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Post-Impressionist style.
€450
Alfons MUCHA
Couverture de L'Estampe Moderne n°15 juillet 1898
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Juillet 1898|41 x 56 cm|une feuille
Original black and white print with wide margins serving as cover for the celebrated monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe wide-margined volume gathering of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created especially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F.
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art in the same way as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist freshly arrived in Paris, Alfons Mucha "who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as draughtsman, decorator and colorist." (legend printed on the tissue guard of Salomé). It is moreover to him that the first premium of the magazine will be entrusted, offered "to all subscribers of the twelve annual issues of L'Estampe moderne" as well as the celebrated illustration of the covers.
Very handsome copy.
€450
Etienne DINET (Eugène FROMENTIN)
"Jeux de fillettes à Laghouat" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mai 1898)|34.50 x 24.50 cm|une feuille et une serpente
Rare original color lithograph, executed by Etienne Dinet for L'Estampe Moderne, series number 13 published in May 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe edition on the verso, slight trace of the stamp from the preceding engraving on the recto; engraving preceded by a tissue guard captioned with the artist's name, the title, and a text.
Lithograph inspired by an extract from Eugène Fromentin, reproduced on the tissue guard of the print.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very beautiful lithographs.
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and displayed on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, equal to the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Orientalist style.
€1,500
Etienne DINET (Eugène FROMENTIN)
"Jeux de fillettes à Laghouat" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mai 1898)|34.50 x 24.50 cm|une feuille
Rare original lithograph, executed by Etienne Dinet for L'Estampe Moderne, series number 13 published in May 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, pale marginal foxing.
Lithograph inspired by an extract from one of Eugène Fromentin's travel accounts.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft at the same time, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and displayed on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, equal to the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Orientalist style.
€700
Henri BELLERY-DESFONTAINES
"L'énigme" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juillet 1898)|40 x 27.50 cm|une feuille et une serpente
Rare original color lithograph, executed by Henri Bellery-Desfontaines for L'Estampe Moderne, "Third free premium reserved for annual subscribers of L'Estampe Moderne".
One of 50 deluxe copies printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's blind stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe issue on verso; engraving preceded by a tissue guard captioned with the artist's name, title and a text excerpt; blank tissue guard.
Lithograph inspired by an excerpt from La saga de Wiking translated by E. Reynaud, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the illustrated luxury book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Art Nouveau style.
€1,200
Fernand PIET (Pierre BURMAN)
"Un marché en Zélande" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juillet) 1898|24 x 31.50 cm|une feuille et une serpente
Rare original color lithograph, executed by Fernand Piet for L'Estampe Moderne, series number 15 published in July 1898.
One of 50 deluxe copies printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's blind stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe issue on verso, slight trace of the stamp from the preceding engraving on recto; engraving preceded by a tissue guard captioned with the artist's name, title, and text.
Lithograph inspired by an excerpt from a text by Pierre Burman describing a market scene, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the illustrated luxury book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€600
Fernand PIET (Pierre BURMAN)
"Un marché en Zélande" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juillet) 1898|24 x 31.50 cm|une feuille
Rare original lithograph, executed by Fernand Piet for L'Estampe Moderne, series number 15 published in July 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on verso, pale marginal foxing.
Lithograph inspired by an extract from a text by Pierre Burman describing a market scene.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€250
Maximilienne GUYON (José Maria de HEREDIA)
"Maris stella" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juillet 1898)|24 x 34.50 cm|une feuille et une serpente
Rare original color lithograph, executed by Maximilienne Guyon for L'Estampe Moderne, series number 15 published in July 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe printing on verso, slight trace of the stamp from the preceding engraving on recto; engraving preceded by a tissue guard captioned with the artist's name, title, and a poem.
Lithograph inspired by a poem by José Maria de Heredia, Les Trophées, reproduced on the tissue guard of the print.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€700
Maximilienne GUYON (José Maria de HEREDIA)
"Maris stella" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juillet 1898)|24 x 34.50 cm|une feuille
Rare original lithograph, executed by Maximilienne Guyon for L'Estampe Moderne, series number 15 published in July 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the verso, pale marginal foxing and tiny lack to the lower right corner of the laid paper sheet.
Lithograph inspired by a poem by José Maria de Heredia, Les Trophées.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe Moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and posted on the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to conservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€300
Henri MARTIN (DANTE ALIGHIERI)
"Dante rencontre Béatrix" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juillet 1898)|31 x 25.50 cm|une feuille
Rare original lithograph, executed by Henri Martin for L'Estampe Moderne, series number 15 published in July 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the verso, pale marginal foxing.
Lithograph inspired by an extract from Dante's Divine Comedy.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe Moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and posted on the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to conservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the symbolist style.
€400
Eugène TRIGOULET (Gustave FLAUBERT)
"Le chemin de la mort" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juillet 1898)|35 x 22.50 cm|une feuille et une serpente
Rare original lithograph, executed by Eugène Trigoulet for L'Estampe Moderne, series number 15 published in July 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered luxury edition stamp on the reverse, slight trace of the previous print's stamp on the recto; print preceded by a tissue guard captioned with the artist's name, title, and text.
Lithograph inspired by an extract from Gustave Flaubert's Chant de la mort, reproduced on the print's tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other reviews such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a complete work in itself. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very fine lithographs.
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the symbolist style.
€600
Henri MARTIN (DANTE ALIGHIERI)
"Le chemin de la mort" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juillet 1898)|35 x 22.50 cm|une feuille
Rare original lithograph, executed by Eugène Trigoulet for L'Estampe Moderne, series number 15 published in July 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the reverse, pale marginal foxing.
Lithograph inspired by an extract from Gustave Flaubert's Chant de la mort.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other reviews such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more suitable than any other for receiving a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€300
Jeanne JACQUEMIN
"Saint-Georges" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars 1898)|16 x 26 cm|une feuille
Rare original lithograph, executed by Jeanne Jacquemin for L'Estampe Moderne, series number 11 published in March 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp showing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso, pale marginal foxing.
Lithograph inspired by a poem by Edmond Pilon.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Symbolist style.
€300
Ernest LAURENT (Léon DIERX)
"Soir d'octobre" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars 1898)|25 x 34.50 cm|une feuille et une serpente
Rare original lithograph, executed by Ernest Laurent for L'Estampe Moderne, series number 11 published in March 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper mounted on Japan paper, artist's signature in the plate, publisher's dry stamp showing a child's profile in the lower margin, numbered stamp of the deluxe edition on verso; lithograph preceded by a tissue guard inscribed with the artist's name, title and a poem; blank tissue guard.
Lithograph inspired by a poem by Léon Dierx, reproduced on the tissue guard of the print.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on the most prestigious paper: Japan. Thick, silky, satined and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Symbolist style.
€1,000
Ernest LAURENT (Léon DIERX)
"Soir d'octobre" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars 1898)|23.50 x 34.50 cm|une feuille
Rare original lithograph executed by Ernest Laurent for L'Estampe Moderne, series number 11 published in March 1898.
One of 50 deluxe proofs printed on China paper with large margins, artist's signature in the plate, publisher's blind stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the verso, pale marginal foxing.
Lithograph inspired by a poem by Léon Dierx.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the periodical. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with large margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, both smooth and soft, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to characterize this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Symbolist style.
€500
Hans CHRISTIANSEN (Paul VERLAINE)
"L'heure du berger" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars 1898)|22.50 x 35 cm|une feuille et une serpente
Rare original color lithograph executed by Hans Christiansen for L'Estampe Moderne, series number 11 published in March 1898.
One of 50 deluxe proofs printed on Japan paper with large margins, laid paper mounted on Japan paper, artist's signature in the plate, publisher's blind stamp representing a child's profile in the lower margin, numbered luxury edition stamp on the verso; print preceded by a tissue guard inscribed with the artist's name, title and a poem; blank tissue guard.
Lithograph inspired by an extract from a poem by Paul Verlaine, reproduced on the print's tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the periodical. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with large margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious paper: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to characterize this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.
€1,800
Hans CHRISTIANSEN (Paul VERLAINE)
"L'heure du berger" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars 1898)|22.50 x 35 cm|une feuille
Rare original lithograph, executed by Hans Christiansen for L'Estampe Moderne, series number 11 published in March 1898.
One of the 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, pale marginal foxing.
Lithograph inspired by an excerpt from a poem by Paul Verlaine.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe Moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2,000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Malgré toutes ses qualités, le papier de Chine, trop inconsistant, doit sa réputation, non pas à sa propre beauté, mais bien à ses affinités particulières avec l'encre d'impression. Son tissu, lisse et mou tout ensemble, est plus apte qu'aucun autre à recevoir un beau tirage. Cette propriété fait rechercher le papier de Chine pour le tirage des gravures..." ["Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft at the same time, is more suitable than any other to receive a fine impression. This property makes China paper sought after for printing engravings..."] (Anatole France).
French collectors' interest in artistic posters increased at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
A handsome copy in the Art Nouveau style.
€700
Alfons MUCHA
Couverture de L'Estampe Moderne n°12 avril 1898
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Avril 1898|41 x 56 cm|une feuille
Original black and white print with wide margins serving as the cover for the celebrated monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover for the rare luxury volume binding with wide margins of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe Moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2,000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
French collectors' interest in artistic posters increased at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist who had recently arrived in Paris, Alfons Mucha "qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste." ["who has recently emerged in France and who has immediately won such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as a draftsman, decorator and colorist."] (caption printed on the tissue guard of Salomé). It was moreover to him that the first premium of the magazine was entrusted, offered "à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne" ["to all subscribers of the twelve annual issues of L'Estampe Moderne"] as well as the famous illustration of the covers.
A very handsome copy.
€450
Richard RANFT (Hugues LE ROUX)
"L'écuyère" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1898)|23.50 x 34.50 cm|une feuille et une serpente
Rare original lithograph printed in colors, executed by Richard Ranft for L'Estampe Moderne, series number 12 published in April 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe printing on verso, small dark dampstain with very slight loss to corner, light trace of the stamp from the previous engraving on recto; engraving preceded by a tissue guard captioned with the artist's name, title and an extract from a work; blank tissue guard.
Lithograph inspired by an extract from Jeux du cirque written by Hugues Le Roux, reproduced on the tissue guard of the print.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the end of the 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very fine lithographs.
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in a style and composition close to Henri de Toulouse-Lautrec.
€1,400
Richard RANFT (Hugues LE ROUX)
"L'écuyère" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1898)|23.50 x 34.50 cm|une feuille
Rare original lithograph, executed by Richard Ranft for L'Estampe Moderne, series number 12 published in April 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on verso, pale marginal foxing, small dark dampstain with very slight loss to corner, light trace of the stamp from the previous engraving on recto.
Lithograph inspired by an extract from Jeux du cirque written by Hugues Le Roux.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the end of the 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft together, is more suited than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in a style and composition close to Henri de Toulouse-Lautrec.
€600
Pierre PUVIS DE CHAVANNES, Armand DAYOT
"L'espérance" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1898)|20.30 x 27 cm|une feuille et une serpente
Rare original lithograph in crayon manner, executed by Pierre Puvis de Chavannes for L’Estampe Moderne, dated 1 August 1869, from series no. 12 issued in April 1898.

One of 50 deluxe proofs printed on japon paper with wide margins, on vellum laid down on japon paper, signed and dated in the plate, with the publisher’s blindstamp of a child’s profile in the lower margin, and numbered stamp of the deluxe issue on verso. A faint dark stain to one corner, with slight offsetting of the preceding plate. Preceded by a tissue guard bearing the artist’s name, title, an excerpt of text, and a short presentation of the engraving; with an additional blank tissue guard.

Lithograph inspired by an excerpt from Armand Dayot, reproduced on the tissue guard of the print.

Magnificent French monthly publication issued between May 1897 and April 1899, L’Estampe Moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l’Affiche and as stated on the tissue guards, were created expressly for the magazine by each artist.

A total of 100 prints were issued, reflecting the major artistic movements of the late 19th century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalism and the Belle Époque. Each instalment of four prints was published in 2,000 copies priced at 3.50 francs, with 100 on japon paper offered at 10 francs. Henri Piazza also planned an extremely limited de luxe printing: 50 copies on large-margined japon and 50 in black on china paper at the considerable price of 30 francs.

This large-format plate is superbly printed on the most prestigious of papers: japon. Thick, silky, satiny and pearly, it makes each sheet a work in its own right. Its ink absorption and affinity with colour also make it the ideal support for these magnificent lithographs.

French collectors’ enthusiasm for artistic posters increased in the early 1890s. Octave Uzanne, to describe this fervour, coined the term affichomanie. The poster, originally popular and pasted in the streets of Paris, was elevated to the status of art object, its ephemeral medium transformed into something precious and destined for preservation.

Piazza’s ambition was to detach the poster from its advertising function and raise it to the rank of an art form in its own right, on a par with the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most celebrated European artists of the day: Georges de Feure, Eugène Grasset, Henri Detouche, Émile 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, and others.

A fine example in the artist’s Symbolist manner.
€800
Pierre PUVIS DE CHAVANNES (Armand DAYOT)
"L'espérance" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1898)|20.30 x 27 cm|une feuille
Rare original lithograph, executed by Pierre Puvis de Chavannes for L'Estampe Moderne, series number 12 published in April 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with numbered stamp of the deluxe edition on verso, pale marginal foxing, small dark dampstain in corner, light trace of the stamp from the previous engraving on recto.
Lithograph inspired by an extract from Jeux du cirque written by Hugues Le Roux.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was published in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a very confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at the same time, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the artist's symbolist style.
€400
Henry DETOUCHE
"Dans les ronces" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1898)|24.50 x 35 cm|une feuille et une serpente
Rare original lithograph printed in colors, executed by Henry Detouche for L'Estampe Moderne, series number 12 published in April 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in lower margin, numbered stamp of the deluxe edition on verso, light trace of the stamp from the previous engraving on recto; engraving preceded by a tissue guard captioned with the artist's name, title and text by the artist; blank tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was published in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a very confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very fine lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Art Nouveau style.
€900
Henry DETOUCHE
"Dans les ronces" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1898)|24.50 x 35 cm|une feuille
Rare original lithograph, executed by Henry Detouche for L'Estampe Moderne, series number 12 published in April 1898.
One of 50 deluxe proofs printed on China paper with large margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso, pale marginal foxing, small dark dampstain in corner, slight trace of the stamp from the previous engraving on recto.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with large margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Art Nouveau style.
€400
Fernand GOTTLOB (Camille LEMONNIER)
"La promise" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1898)|24 x 34.50 cm|une feuille et une serpente
Rare original lithograph printed in colors, executed by Fernand Gottlob for L'Estampe Moderne, series number 12 published in April 1898.
One of 50 deluxe proofs printed on Japan paper with large margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on verso, slight trace of the stamp from the previous engraving on recto; engraving preceded by a tissue guard captioned with the artist's name, the title and an excerpt from a work; blank tissue guard.
Lithograph inspired by an excerpt from Le Mâle written by Camille Lemonnier, reproduced on the tissue guard of the print.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with large margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satined and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral support became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Symbolist style.
€700
Fernand GOTTLOB (Camille LEMONNIER)
"La promise" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1898)|24 x 34.50 cm|une feuille
Rare original lithograph, executed by Fernand Gottlob for L'Estampe Moderne, series number 12 published in April 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe issue on the reverse, pale marginal foxing, small dark dampstain in corner, light trace of the stamp from the previous engraving on recto.
Lithograph inspired by an extract from Le Mâle written by Camille Lemonnier.
A magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of a beautiful format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters amplified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and placarded in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
A handsome copy in symbolist style.
€400
Alfons MUCHA
Couverture de L'Estampe Moderne n°13 mai 1898
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Mai 1898|41 x 56 cm|une feuille
Original black and white print with wide margins serving as cover for the famous monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe volume reunion with wide margins of the first year of publication. Artist's signature in the plate and deluxe printing number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
The interest of French collectors in artistic posters amplified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist freshly arrived in Paris, Alfons Mucha "qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste." ["who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as draftsman, decorator and colorist."] (caption printed on the tissue guard of Salomé). It is moreover to him that the first premium of the magazine was entrusted, offered "à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne" ["to all subscribers of the twelve annual deliveries of L'Estampe moderne"] as well as the famous cover illustration.
Very handsome copy.
€450
Gaston BUSSIERE (Richard WAGNER)
"Brunnhild" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mai 1898)|21 x 34 cm|une feuille
Rare original lithograph, executed by Gaston Bussière for L'Estampe Moderne, series number 13 published in May 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, pale marginal foxing.
Lithograph inspired by some verses entitled La Valkyrie, extracted from L'Anneau du Nibelung by Richard Wagner, translated by A. Ernst.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at the same time, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters amplified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.
€500
Auguste ROEDEL (Pierre DUPONT)
"La romance" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mai 1898)|22.50 x 34 cm|une feuille et une serpente
Rare original lithograph printed in colors, executed by Auguste Roedel for L'Estampe Moderne, series number 13 published in May 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's blind stamp representing a child's profile in the lower margin, numbered stamp of the luxury printing on verso, slight trace of the stamp from the previous engraving on recto; engraving preceded by a tissue guard captioned with the artist's name, the title, a poem and a text, lacking at head without touching the text.
Lithograph inspired by a poem by P. Dupont entitled Les fraises, reproduced on the tissue guard of the print.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints is printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provides for a confidential printing of very great luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomania". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art in the same way as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€200
Auguste ROEDEL (Pierre DUPONT)
"La romance" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mai 1898)|22.50 x 34 cm|une feuille
Rare original lithograph, executed by Auguste Roedel for L'Estampe Moderne, series number 13 published in May 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe issue on the verso, pale marginal foxing.
Lithograph inspired by a poem by P. Dupont entitled Les fraises.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late nineteenth century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€100
Henri FANTIN-LATOUR (William SHAKESPEARE)
"Immortalité" - Lithographie originale sur Japon - L'Estampe ModerneOriginal lithograph on Japan paper - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mai 1898)|24.50 x 34.50 cm|une feuille et une serpente
"Immortalité" - Original lithograph on Japan paper – L'Estampe Moderne
L'Estampe Moderne | Imprimerie Champenois for C. H. Masson & H. Piazza | Paris [May 1897] | subject: 24,5 x 34,5cm| plate: 40.8 x 55 cm | one leaf and a captioned silk tissue

Rare Henri Fantin-Latour color lithograph heightened with gold published by L'Estampe Moderne, series number 13, May 1897.
One of 50 ‘grand luxe' proofs printed on papier japon with wide margins, signed by the artist in the plate, publisher's stamp to the lower margin, de luxe printing numbered stamp to verso, small trace of stamp from the previous plate; the plate itself preceded by a silk tissue with the name of the artist, title, a poem and a caption.

L'Estampe moderne was a magnificent monthly French publication published between May 1897 and April 1899. It included unpublished chromolithographs specially made by each artist for the magazine – as mentioned on the protective silk tissue over each plate – unlike other publications such as Les Maîtres de l'Affiche. 100 prints were published in total, covering major artistic movements of the late 19th-century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and ‘Belle époque'. 2,000 copies were printed of each fascicule containing four prints and sold for 3.50F. 100 copies were printed on papier japon for 10F.
Henri Piazza also planned a very luxurious secret printing of 50 copies on papier japon with wide margins and 50 in black and white on papier chine at the considerable price of 30F.
This well-sized print is superbly printed in colors on the most prestigious of papers: japon. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its qualities of absorption and its affinity for colors make it the ideal support for these lovely lithographs.
The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this new form of collection: ‘affichomanie', or poster mania. The initially common poster displayed in the streets of Paris became a work of art and its ephemeral material became precious and made to last.
Piazza decided to separate the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He put together a prestigious collection of entirely original artworks by the most fashionable European artists: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
A very fine plate.
€1,200
Henri FANTIN-LATOUR (William SHAKESPEARE)
"Immortalité" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mai 1898)|24.50 x 34.50 cm|une feuille
Rare original lithograph, executed by Henri Fantin-Latour for L'Estampe Moderne, series number 13 published in May 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe issue on the verso, pale marginal foxing.
Lithograph inspired by an extract from William Shakespeare's Sonnets.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late nineteenth century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€700
Auguste DONNAY (José Maria de HEREDIA)
"Artémis" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Février) 1898|23.50 x 34.50 cm|une feuille et une serpente
Rare original lithograph printed in colors, executed by Auguste Donnay for L'Estampe Moderne, series number 10 published in February 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on the verso; engraving preceded by a tissue guard inscribed with the artist's name, title and a poem; blank tissue guard.
Lithograph inspired by a poem by José Maria de Heredia, reproduced on the tissue guard of the print.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe Moderne consists of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a complete work in itself. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to characterize this fever, invented the term "postomania." The poster, originally popular and displayed in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.
€1,200
Auguste DONNAY (José Maria de HEREDIA)
"Artémis" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Février) 1898|23.50 x 34.50 cm|une feuille
Rare original lithograph, executed by Auguste Donnay for L'Estampe Moderne, series number 10 published in February 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, pale marginal foxing.
Lithograph inspired by a poem by José Maria de Heredia.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe Moderne consists of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation, not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to characterize this fever, invented the term "postomania." The poster, originally popular and displayed in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.
€500
René-Xavier PRINET (Edmond & Jules de GONCOURT)
"Manon" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Février) 1898|22 x 32.50 cm|une feuille et une serpente
Rare original lithograph printed in the manner of three crayons, executed by René-Xavier Prinet for L'Estampe Moderne, series number 10 published in February 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper mounted on Japan paper, signed by the artist and dated in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered luxury edition stamp on the verso; engraving preceded by a tissue guard captioned with the artist's name, the title and an extract from a work; blank tissue guard.
Lithograph inspired by a text by Edmond & Jules de Goncourt, La Femme au XVIIIe siècle, an extract of which is reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very beautiful lithographs.
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€500
René-Xavier PRINET (Edmond & Jules de GONCOURT)
"Manon" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Février) 1898|22 x 32.50 cm|une feuille
Rare original lithograph, executed by René-Xavier Prinet for L'Estampe Moderne, series number 10 published in February 1898.
One of 50 deluxe proofs printed on China paper with wide margins, signed by the artist and dated in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a laid paper sheet with the numbered luxury edition stamp on the verso, slight marginal foxing.
Lithograph inspired by a text by Edmond & Jules de Goncourt, La Femme au XVIIIe siècle.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive fine printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€250
Alfons MUCHA
Couverture de L'Estampe Moderne n°11 mars 1898
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Mars 1898|41 x 56 cm|une feuille
Original black and white print with full margins serving as cover for the famous monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe volume compilation with full margins of the first year of publication. Artist's signature in the plate and luxury edition number added in pencil.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with full margins and 50 in black on China paper at the considerable price of 30F.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist freshly arrived in Paris, Alfons Mucha "qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste." ["who has recently emerged in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as draftsman, decorator and colorist."] (caption printed on the tissue guard of Salomé). It was moreover to him that the first premium of the journal was entrusted, offered "à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne" ["to all subscribers of the twelve annual issues of L'Estampe moderne"] as well as the famous illustration of the covers.
Very handsome copy.
€450
Robert ENGELS (Edmond PILON)
"Le passant" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars 1898)|23.50 x 34.50 cm|une feuille et une serpente
Rare original color lithograph, executed by Robert Engels for L'Estampe Moderne, series number 11 published in March 1898.
One of 50 deluxe proofs printed on Japan paper with full margins, artist's signature in the plate, publisher's dry stamp showing a child's profile in the lower margin, numbered luxury edition stamp on verso; engraving preceded by a tissue guard inscribed with the artist's name, title and a poem; blank tissue guard.
Lithograph inspired by a poem by Edmond Pilon, reproduced on the print's tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with full margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satin and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the style of the Deutscher Werkbund, the German equivalent of Art Nouveau.
€1,700
Robert ENGELS (Edmond PILON)
"Le passant" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars 1898)|24 x 35 cm|une feuille
Rare original lithograph, executed by Robert Engels for L'Estampe Moderne, series number 11 published in March 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, pale marginal foxing.
Lithograph inspired by a poem by Edmond Pilon.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential printing of very high luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of beautiful format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters amplified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "poster mania". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Fine example in the style of the Deutscher Werkbund, the equivalent of Art Nouveau in Germany.
€700
Auguste LEPERE (Jean RICHEPIN)
"Loups de mer" - Lithographie originale sur Japon - L'Estampe Moderne
pour CH. Masson • H. Piazza • Imprimerie Champenois|Paris (Février 1898)|34 x 25 cm|une feuille et une serpente
Rare original lithograph printed in colors, executed by Auguste Lepère for L'Estampe Moderne, series number 10 published in February 1898.
One of 50 deluxe copies printed on Japan paper with wide margins, publisher's dry stamp depicting a child's profile in lower margin, numbered stamp of the deluxe edition on verso; engraving preceded by a tissue guard captioned with the artist's name, title and a poem.
Lithograph inspired by a poem by Jean Richepin, En ramant, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appear in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints is printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provides a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors for artistic posters intensifies at the beginning of the 1890s. Octave Uzanne, to qualify this fever invents the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then becomes an art object and its ephemeral support becomes precious and devoted to conservation.
Piazza decides to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the illustrated deluxe book. He thus composes a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€800
Auguste LEPERE (Jean RICHEPIN)
"Loups de mer" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Février 1898)|34 x 25 cm|une feuille
Rare original lithograph, executed by Auguste Lepère for L'Estampe Moderne, series number 10 published in February 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's blind stamp representing a child's profile in lower margin, laid down on a sheet of laid paper with on verso the numbered stamp of the deluxe issue, pale marginal foxing, tiny corner lack, a small dampstain and a tear both in margin not touching the engraving.
Lithograph inspired by a poem by Jean Richepin, En ramant.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other reviews such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the end of the 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints is printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provides a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€400
Alfons MUCHA
Couverture de L'Estampe Moderne n°9 janvier 1898
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Janvier 1898|41 x 56 cm|une feuille
Original black and white print with wide margins serving as cover for the celebrated monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe wide-margined volume gathering of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F.
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist freshly arrived in Paris, Alfons Mucha "who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as draftsman, decorator and colorist." (caption printed on the tissue guard of Salomé). It was moreover to him that the first premium of the magazine was entrusted, offered "to all subscribers of the twelve annual issues of L'Estampe moderne" as well as the famous illustration of the covers.
Very handsome copy.
€450
Alfons MUCHA
Couverture de L'Estampe Moderne n°10 février 1898Cover of L'Estampe Moderne n10 February 1898
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Février 1898|41 x 56 cm|une feuille
Cover of L'Estampe Moderne n°10 February 1898
L'Estampe Moderne | Imprimerie Champenois for C. H. Masson & H. Piazza | Paris February 1898 | 41 x 56 cm | one leaf

Original print in black and white with large margins, serving as the cover for the famous monthly publication Estampe Moderne. Entirely printed in black and white, our print is the cover of the rare collation in large-margin luxury print of the first year of publication. Artist's signature on the board and number of the tirage de luxe added in pencil.

A magnificent monthly French publication that appeared between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs that, unlike those in other magazines like Les Maîtres de l'Affiche and as is stipulated on the guard sheets, were specially made by each artist for the magazine. There are thus 100 prints that appeared in total, covering the major artistic currents of the late 19th Century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalists and the Belle époque. Each fascicule of four prints was printed in 2,000 copies and sold for 3.50F, with 100 on Japan paper sold at 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on Japan paper with wide margins and 50 in black and white on China paper at the considerable price of 30F.

This well-sized print is superbly printed in colors on the most prestigious of papers: Japan. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its absorptive qualities for ink and its affinity for colors make it the ideal support for these lovely lithographs.
The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this growing interest: affichomanie, or poster mania. The poster, originally not rare and posted up in the streets of the capital, thus became a work of art and its ephemeral background became precious and essential for conservation.
Piazza decided to extract the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He thus put together a prestigious collection of entirely original works by the most fashionable European artists of the age: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
He also included in this project a Czech artist freshly arrived in Paris, Alfonse Mucha “who has only recently become active in France but who has immediately carved out for himself the affection of the public. Like in his posters, which everyone knows and covets, he shows us here the varied resources of his multifaceted talents as accomplished draughstman, decorator and colorist” (from the notes printed on the guard for Salomé). The two first special numbers of the review were in fact dedicated to him, and were given to “all the subscribers for all twelve annual numbers of L'Estampe moderne” as well as the famous illustration of the covers.
A very beautiful copy.
€450
Gustave Max STEVENS (Henrik IBSEN)
"Solveig" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Janvier 1898)|35 x 25 cm|une feuille et une serpente
Rare original color lithograph, executed by Gustave Max Stevens for L'Estampe Moderne, series number 9 published in January 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in lower margin, numbered luxury edition stamp on verso; engraving preceded by a tissue guard captioned with the artist's name, title and an extract from a work; blank tissue guard.
Lithograph inspired by the Song of Solveig, lyrics from the music created for Henrik Ibsen's play Peer Gynt, an extract of which is reproduced on the print's tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential printing of very high luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the illustrated luxury book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Pre-Raphaelite style.
€1,350
Gustave Max STEVENS (Henrik IBSEN)
"Solveig" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Janvier 1898)|35 x 25 cm|une feuille
Rare original lithograph, executed by Gustave Max Stevens for L'Estampe Moderne, series number 9 published in January 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe issue on the verso, pale marginal foxing.
Lithograph inspired by Solveig's Song, lyrics from the music created for the theatrical play Peer Gynt by Henrik Ibsen.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of beautiful format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€600
Edmond AMAN-JEAN
"Sous les fleurs" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Janvier 1898)|27 x 35 cm|une feuille et une serpente
Rare original color lithograph, executed by Edmond Aman-Jean for L'Estampe Moderne, series number 9 published in January 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe issue on the verso; engraving preceded by a tissue guard bearing the artist's name, title and presentation of the artist; blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the journal. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of beautiful format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its ink absorption quality and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Symbolist style.
€1,500
Edmond AMAN-JEAN
"Sous les fleurs" - Lithographie originale sur Chine - L'Estampe Moderne
pour CH. Masson • H. Piazza • Imprimerie Champenois|Paris (Janvier 1898)|27 x 35 cm|une feuille
Rare original lithograph, executed by Edmond Aman-Jean for L'Estampe Moderne, series number 9 published in January 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of wove paper with the numbered stamp of the deluxe printing on verso, pale marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings..." ["Malgré toutes ses qualités, le papier de Chine, trop inconsistant, doit sa réputation, non pas à sa propre beauté, mais bien à ses affinités particulières avec l'encre d'impression. Son tissu, lisse et mou tout ensemble, est plus apte qu'aucun autre à recevoir un beau tirage. Cette propriété fait rechercher le papier de Chine pour le tirage des gravures..."] (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on par with the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Symbolist style.
€700
Paul-Albert LAURENS (José Maria de HEREDIA)
"Le bain des nymphes" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Janvier 1898)|32 x 22 cm|une feuille et une serpente
Rare original lithograph, executed by Paul Albert Laurens for L'Estampe Moderne, series number 9 published in January 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, wove paper mounted on Japan paper, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe printing on verso; engraving preceded by a tissue guard inscribed with the artist's name, title and a poem; blank tissue guard.
Lithograph inspired by the poem Les trophées by José-Maria de Heredia, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its ink absorption quality and affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on par with the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.
€1,800
Paul-Albert LAURENS (José Maria de HEREDIA)
"Le bain des nymphes" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Janvier 1898)|27 x 35 cm|une feuille
Rare original lithograph, executed by Paul Albert Laurens for L'Estampe Moderne, series number 9 published in January 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's embossed stamp showing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso, pale marginal foxing.
Lithograph inspired by the poem Les trophées by José-Maria de Heredia.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. "Despite all its qualities, China paper, too insubstantial, owes its reputation, not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters increased at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "poster mania". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.
€1,200
Camille BELLANGER
"La blanchisseuse" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Janvier) 1898|33.50 x 23 cm|une feuille et une serpente
Rare original lithograph printed in the manner of red chalk, executed by Camille Bellanger for L'Estampe Moderne, series number 9 published in January 1898.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's embossed stamp showing a child's profile in the lower margin, numbered stamp of the deluxe edition on verso; print preceded by a tissue guard inscribed with the artist's name, title and presentation of the artist, crease mark; blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters increased at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "poster mania". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€700
Camille BELLANGER
"La blanchisseuse" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Janvier) 1898|33.50 x 23 cm|une feuille
Rare original lithograph, executed by Camille Bellanger for L'Estampe Moderne, series number 9 published in January 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, pale marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints were published in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provided for a confidential printing of very high luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors for artistic posters grew at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right, on the same level as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Fine copy.
€350
TANEKAZU, UTAGAWA TOYOKUNI KUNISADA
Warabeuta Myoumyou guruma
S. n.|s. l. 1860 (S.d.)|11 x 5 cm|2 tomes en un volume cousu
First edition of this tale. 15 comic tales were published in this series bringing together the writer Tanezaku and the painter Utagawa Toyokuni Kunisada. One color illustration on double page and embossed paper, 2 on double page in grey and black wash, 15 in black and white on double page, 2 single page.
Japanese accordion binding. Sky blue cover with wheel and flower motifs. Title label. 1cm wormhole affecting the last 10 leaves. Soiling to left corner corresponding to the thumb that handled the leaves across several pages.
Very fine illustration by one of the masters of printmaking, Kunisada.
€450
Georges de FEURE
"Retour" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin 1897)|25.50 x 33 cm|une feuille
Rare original lithograph, executed by Georges de Feure for L'Estampe Moderne, series number 2 published in May 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, pale marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provided for a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of beautiful format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft at the same time, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters grew in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie". The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art in the same way as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Superb copy of this Art Nouveau poster.
€1,200
Georges de FEURE
"Retour" - Lithographie originale sur Japon - L'Estampe ModerneOriginal lithograph on Japan paper - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin 1897)|25.50 x 33 cm|une feuille
“Retour” – Original lithograph on Japan paper – L'Estampe Moderne

L'Estampe Moderne | Imprimerie Champenois pour C.H. Masson & H. Piazza | Paris (Juin 1897) | subject: 25.5 x 33 cm | plate: 40.8 x 55 cm | one leaf

Rare original color lithograph by Georges de Feure 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 époque. Each fascicule of four prints was printed in 2,000 copies and sold for 3.50F, with 100 on Japan paper sold at 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on Japan paper with wide margins and 50 in black and white on China paper at the considerable price of 30F.
This well-sized print is superbly printed in colors on the most prestigious of papers: Japan. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its absorptive qualities for ink and its affinity for colors make it the ideal support for these lovely lithographs.

The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this growing interest: affichomanie, or poster mania. The poster, originally not rare and posted up in the streets of the capital, thus became a work of art and its ephemeral background became precious and essential for conservation.
Piazza decided to extract the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He thus put together a prestigious collection of entirely original works by the most fashionable European artists of the age: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.

A fine copy of this Art Nouveau style poster.
€2,500
Edward BURNE-JONES (Gabriel MOUREY)
"Beauty" - Lithographie originale sur Japon - L'Estampe Moderne"Beauty" - Original lithograph on Japan paper - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Février 1899)|19.40 x 33.40 cm|une feuille
“Beauty” – Original lithograph on Japan paper – L'Estampe Moderne
L'Estampe Moderne | Imprimerie Champenois pour C.H. Masson & H. Piazza | Paris [February 1899] | subject: 19.4 x 33.4 cm | plate: 40.8 x 55 cm | one leaf and one guard
Rare original color lithograph by Edward Burne-Jones 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 plate, 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 époque. Each fascicule of four prints was printed in 2,000 copies and sold for 3.50F, with 100 on Japan paper sold at 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on Japan paper with wide margins and 50 in black and white on China paper at the considerable price of 30F.
This well-sized print is superbly printed in colors on the most prestigious of papers: Japan. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its absorptive qualities for ink and its affinity for colors make it the ideal support for these lovely lithographs.
The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this growing interest: affichomanie, or poster mania. The poster, originally not rare and posted up in the streets of the capital, thus became a work of art and its ephemeral background became precious and essential for conservation.
Piazza decided to extract the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He thus put together a prestigious collection of entirely original works by the most fashionable European artists of the age: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.

A fine copy of this Art Nouveau style poster.
€1,500
Edward BURNE-JONES (Gabriel MOUREY)
"Beauty" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Février 1899)|19.40 x 33.40 cm|une feuille
L'Estampe Moderne, Imprimerie Champenois pour C H Masson & H Piazza, Paris (july 1897), subject: 22.5 x 34 cm, plate : 40.8 x 55 cm, one leaf
Rare original lithograph by Edward Burne-Jones for L'Estampe Moderne, series no. 3, published in July 1897.
One of the 50 grand luxe proofs printed on China paper with wide margins, printed in brown ink, signed and dated by the artist in the stone. Embossed stamp of the publisher showing a child in profile to lower margin, laid down on a leaf of vélin paper with the numbered stamp of the tirage de luxe to verso, occasional spotting to margins.
A magnificent monthly French publication that appeared between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs that, unlike those in other magazines like Les Maîtres de l'Affiche and as is stipulated on the guard sheets, were specially made by each artist for the magazine. There are thus 100 prints that appeared in total, covering the major artistic currents of the late 19th Century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalists and the Belle Epoque. Each fascicule of four prints was printed in 2,000 copies and sold for 3.50F, with 100 on Japan paper sold at 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on Japan paper with wide margins and 50 in black and white on China paper at the considerable price of 30F.
This well-sized print is superbly printed on one of the most prestigious of papers: China. "Despite all its qualities, China paper, all too inconsistent, owes its reputation not to its own beauty, but to its particular affinity for printing ink. Its consistency, both smooth and soft, is more suitable than any other for receiving a good impression. It is this property that makes it sought-after for printing engravings...“ (Anatole France).
The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this growing interest: affichomanie, or poster mania. The poster, originally not rare and posted up in the streets of the capital, thus became a work of art and its ephemeral background became precious and essential for conservation.
Piazza decided to extract the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He thus put together a prestigious collection of entirely original works by the most fashionable European artists of the age: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
A fine copy in the artist's Art Nouveau style.
€700
Alfons MUCHA
Couverture de L'Estampe Moderne n°7 novembre 1897
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Novembre 1897|41 x 56 cm|une feuille
Original black and white print with full margins serving as cover for the famous monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe volume edition with full margins of the first year of publication. Artist's signature in the plate and luxury edition number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with full margins and 50 in black on China paper at the considerable price of 30F.
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist freshly arrived in Paris, Alfons Mucha "who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as draftsman, decorator and colorist." (caption printed on the tissue guard of Salomé). It was moreover to him that the first premium of the magazine was entrusted, offered "to all subscribers of the twelve annual issues of L'Estampe moderne" as well as the famous illustration of the covers.
Very handsome copy.
€450
Henri EVENEPOEL
"Au square" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Novembre 1897)|23 x 33 cm|une feuille
Rare original lithograph, executed by Henri Evenepoel for L'Estampe Moderne, series number 7 published in November 1897.
One of 50 deluxe proofs printed on China paper with full margins, artist's signature in the plate, publisher's dry stamp showing a child's profile in lower margin, mounted on a sheet of laid paper with numbered luxury edition stamp on verso, pale marginal foxing, tiny harmless corner loss and small tears in upper margin.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with full margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too insubstantial, owes its reputation not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and pasted on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Belle époque style.
€600
Alphonse LEVY
"Rabbi Elischa l'aveugle" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Novembre 1897)|24 x 31 cm|une feuille et une serpente
Rare original lithograph, executed by Alphonse Levy for L'Estampe Moderne, series number 7 published in November 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, Hebrew characters at the foot, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe printing on the verso, minimal corner damage of no consequence; engraving preceded by a tissue guard captioned with the artist's name, title and a text by the artist; blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satin and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very fine lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€600
Jacques WELY (Pierre LOTI)
"Fleur de Lande" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Novembre) 1897|24 x 35 cm|une feuille et une serpente
Rare original color lithograph, executed by Jacques Wely for L'Estampe Moderne, series number 7 published in November 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe printing on the verso, minimal corner damage of no consequence; engraving preceded by a tissue guard captioned with the artist's name, title and a poem; blank tissue guard.
Lithograph inspired by a text by Pierre Loti from his novel Mon frère Yves of which an extract is reproduced on the print's tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satin and pearlescent, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very fine lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Belle Époque style.
€700
Jacques WELY
"Fleur de Lande" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Novembre) 1897|24 x 35 cm|une feuille
Rare original lithograph, executed by Jacques Wely for L'Estampe Moderne, series number 7 published in November 1897.
One of 50 deluxe proofs printed on China with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a laid paper sheet with on the back the numbered stamp of the deluxe printing, pale marginal foxing.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: China. « Malgré toutes ses qualités, le papier de Chine, trop inconsistant, doit sa réputation, non pas à sa propre beauté, mais bien à ses affinités particulières avec l'encre d'impression. Son tissu, lisse et mou tout ensemble, est plus apte qu'aucun autre à recevoir un beau tirage. Cette propriété fait rechercher le papier de Chine pour le tirage des gravures... » ["Despite all its qualities, China paper, too insubstantial, owes its reputation, not to its own beauty, but rather to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..."] (Anatole France).
The interest of French collectors in artistic posters amplified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term « affichomanie » ["poster mania"]. The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Belle Époque style.
€300
Alfons MUCHA
Couverture de L'Estampe Moderne n°8 décembre 1897
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Décembre 1897|41 x 56 cm|une feuille
Original black and white print with wide margins serving as cover for the famous monthly publication L'Estampe Moderne. Entirely printed in black, our print is the cover of the rare deluxe wide-margin volume gathering of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F.
The interest of French collectors in artistic posters amplified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and plastered on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
The publisher also integrated into his project a Czech artist who had just arrived in Paris, Alfons Mucha « qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches, que tout le monde connaît et recherche, il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur, de décorateur et de coloriste. » ["who has recently emerged in France and who has immediately conquered such a great place in public favor. As in his posters, which everyone knows and seeks, he shows us here the varied resources of his multiple and sure talent as a draftsman, decorator and colorist."] (caption printed on the tissue guard of Salomé). It is moreover to him that the first premium of the magazine will be entrusted, offered « à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne » ["to all subscribers of the twelve annual deliveries of L'Estampe moderne"] as well as the famous illustration of the covers.
Very handsome copy.
€450
Franz MELCHERS (Charles MORICE)
"La phalène des îles de la mer" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Décembre) 1897|23 x 33 cm|une feuille et une serpente
Rare original colour lithograph, executed by for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's embossed stamp representing a child's profile in lower margin, numbered stamp of the deluxe issue on verso; engraving preceded by a tissue guard inscribed with the artist's name, title and a poem; blank tissue guard.
Lithograph inspired by a poem by Charles Morice which is reproduced on the tissue guard of the print.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F.
This print in a handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satiny and pearly, it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colours also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie". The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Symbolist style.
€1,000
Franz MELCHERS
"La phalène des îles de la mer" - Lithographie originale sur Chine - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Décembre) 1897|23 x 33 cm|une feuille
Rare original lithograph, executed by Jacques Wely for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on Chine with wide margins, artist's signature and date in the plate, dry stamp of the publisher depicting a child's profile in lower margin, mounted on a sheet of laid paper with on verso the numbered stamp of the deluxe issue, pale marginal foxing.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the periodical. Thus 100 prints appeared in total, covering the major artistic currents of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe issue: 50 copies on Japan with wide margins and 50 in black on Chine at the considerable price of 30F.
This print of handsome format is superbly printed on one of the most prestigious papers: Chine. "Despite all its qualities, China paper, too insubstantial, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "postomania." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works, by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the symbolist style.
€500
Lucien LEVY-DHURMER (BACHAUMONT)
"Belle d'antan" - Lithographie originale sur Japon - L'Estampe Moderne
Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Décembre 1897)|22.50 x 34.50 cm|une feuille et une serpente
Rare original lithograph in sanguine manner, executed by Lucien Lévy-Dhurmer for L'Estampe Moderne, series number 8 published in December 1897.
One of 50 deluxe proofs printed on Japan paper with large margins, laid paper mounted on Japan paper, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on the reverse; engraving preceded by a tissue guard inscribed with the artist's name, title and text, trace of an angular fold; blank tissue guard.
Lithograph inspired by an extract from Bachaumont which is reproduced on the print's tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were specially created by each artist for the periodical. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with large margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral support became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy.
€1,000