REDINGOTE (SIC) D'ALPAGA À CINQ COLLETS.
ANONYMEVery nice and fresh proof, drawn on a slightly blue paper, in pretty colors, published by Basset, rue St. Jacques..
LES CHEVAUX DE BOIS, ROBE D'APRES-MIDI ET ROBE D'ENFANT, DE JEANNE LANVIN
LEPAPE GEORGES (1887-1971)Proof for : La Gazette du Bon Ton1924Fold in the upper left corner..
LE MIROIR ROUGE
LEPAPE GEORGES (1887-1971)Beautiful stencil printed on pearlescent Japanese paper.Minor abrasion in the bottom margin.Silver highlights on the ring and the center of the mirror.Deluxe edition from the magazine: Les Feuillets d'ArtNumbered proof 8011919It was with "Les Choses de Paul Poiret" in 1913, a sequel commissioned by the couturier to "Les Robes" in 1911, that the young Lepape laid the foundations for what would become his signature style: the influence of Japanese prints and the Ballets Russes, adapted to the demands of fashion.This was a new era, both for fashion and for the engraving that depicted it. Abandoning mechanical color printing processes, illustrators brilliantly employed the stencil technique, championed by Jean Saude, himself an illuminator. The vibrancy and warmth of the tones, which had temporarily disappeared, were revived, giving fashion engraving a charm it had lost. At the time, this renewed interest in stenciling, a process particularly well-suited to their style, contributed to the production of a large part of their work. This technique had a long history in France, as it is known that playing card manufacturers were already using it in 15th-century Lyon.At the time, the support was a sheet of oiled cardboard, but the process perfected in France in the 20th century used a zinc or bronze plate. Skillfully employed, these perforated stencils allowed for the layering of colors and the reproduction of the original's hues, achieving almost infinite complexity. Jean Saude, one of the leading specialists in this technique, used more than thirty stencils to capture the freshness of a delicate watercolor.Compared to photographic or entirely mechanical reproduction methods, stenciling was slow and laborious, but this was precisely the reason for its popularity with Saude, Vogel, and other publishers who sought the highest quality. Proceeding in successive layers, and thus preserving the virtues of handwork at every stage, it allowed for the creation of copies that remained remarkably faithful to the spirit of the original.From Japanese prints, Lepape and many others had learned to arrange curvilinear figures against a rectilinear background, to create an impression of tilting, spiraling, and aerial height with an economy of means pushed to the extreme, often achieving this new vibrancy by completely eliminating the background. In their compositions, the foreground is often steeply inclined, causing the background to disappear, the background then becoming a backdrop, as in a theater. The bold palette of the Fauves and the brighter colors adopted by haute couture gave illustrators the courage to begin using previously unheard-of contrasts. The Cubists brought new interpretations of mass and space.The Red Mirror clearly indicates this new spatial balance, the unprecedented experiments with color, and the bold treatment of the human face, all fueled by an observation of a world permeated by new technologies and a thirst for distant horizons. These few bru..
PARDESSUS DE VIGOGNE BLEU DE FRANCE
BROCK JAN VAN ( ACTIF DEBUT XXe )From the suite of Parisian Costumes..
LA PETITE COQUETTE, TOQUET ORNET DE PLUMES, CHAPEAU À COTES, BRODÉ
DEBUCOURT LOUIS-PHILIBERT (1755-1832)Plate dated from the year VIII of the following: Modes and Manners of the Day. Scattered redness, slightly yellowed test in cool colors..
L' AGRESSION, BONNET ET CHAPEAU DE GAZE
DEBUCOURT LOUIS-PHILIBERT (1755-1832)Plate dated from the year VIII of the following: Modes and Manners of the Day. Scattered redness, slightly yellowed test in very fresh colors...
IL NE VIENT PAS! COIFFURE ETRUSQUE, CEINTURE EN X
DEBUCOURT LOUIS-PHILIBERT (1755-1832)Plate dated from the year VIII of the following: Modes and Manners of the Day. Scattered redness, slightly yellowed print, traces of writing in ink on the back, cool colors..
ROBE DE GABARDINE À VOLANTS BRODÉS À LA MAIN
WEGENER GERDA (1886-1940)Plate executed for: Parisian Costumes. Beautiful and fresh proof little worm hole in the bottom margin..
VESTE DE DRAP FIN SUR JUPE DE MÊME À TUNIQUE DE TAFFETAS PÉKINÉ
LHUER VICTOR (1876-1952)Plate executed for: Parisian Costumes. Nice board with cool colors at all margins..
ZUT ! IL PLEUT !! ..., PETITE ROBE DE PROMENADE DE CHERUIT
BRISSAUD PIERRE (1885-1964)From : Gazette du Bon Ton1913..
MA VOITURE, ROBE DE VILLE DE CHERUIT
BRISSAUD PIERRE (1885-1964)Plate executed for the: Gazette du Bon Ton..
RIEN QU'UN NUAGE, ROBE DU SOIR DE CHERUIT
BRISSAUD PIERRE (1885-1964)From : Gazette du Bon Ton1914..
TÊTE A TÊTE, ROBE, DE BEER
BRISSAUD PIERRE (1885-1964)From : Gazette du Bon Ton1922Light dusting in the outer edges...
RENTREZ VOS BLANCS MOUTONS, UNE BERGERE PAR CHERUIT
BRISSAUD PIERRE (1885-1964)From : Gazette du Bon Ton1913..
LA SAISON DES PRUNES MIRABELLES, ROBE D'APRES-MIDI DE REDFERN
BARBIER GEORGES ( 1882-1932 )Stencil for: La Gazette du Bon Ton 1914Slight yellowing of the lower border, tiny marginal depression in the paper...
LAISSEZ-MOI-SEULE
BARBIER GEORGES ( 1882-1932 )Stencil-enhanced print with gold highlights on the dress and hairstyle.Slightly yellowed.Plate from the second issue of the journal Les Feuillets d'Art.1919..
DANSEUSE EN COSTUME DE FANTAISIE
LEPAUTRE JACQUES (ca.1653 – 1684)Superb proof of the first state with beautiful marginsReference: I.F.F n° 32 State I/III..
DANS LA SERRE, ROBE POUR LA DANSE DE MADELEINE VIONNET
THAYAHT ( ERNESTO MICHAHELLES DIT ) (1893-1959)Stencil, 1924 for the Gazette du Bon Ton..
QUEL CHAPEAU FAUT-IL METTRE ?, ROBE D'APRES-MIDI DE DOUCET
MAGNIN JACQUES ( ACTIF DEBUT XXE )From : Gazette du Bon Ton1914..
LE BILLET DOUX
BENITO EDOUARD GARCIA (1891-1981)StencilBeautiful proof with all margins untrimmedFrom : Feuillets d'ArtCa.1914..
LA JEUNE LOCRIENNE, CHAPEAU DE CAMILLE ROGER
HUGO VALENTINE ( 1887-1968 )Proof for : La Gazette du Bon Ton1922Minimal dirt and light dusting of the outer edges...
L'AMERIQUE
SCOTIN GERARD JEAN-BAPTISTE (1671-1716)Beautiful proof with full margins in color.Published in Paris by Valleran.Late 17th century.Slight uniform yellowing, some scattered foxing, old handwritten annotations in pen "45" in the top margin and "1691" following the text in the tablet...
L'ASIE
SCOTIN GERARD JEAN-BAPTISTE (1671-1716)Beautiful proof with full margins in color.Published in Paris by Valleran.Late 17th century.Slight uniform yellowing, scattered foxing, old handwritten annotations in pen "44" in the top margin and "1691" following the text in the tablet...
LA PERVENCHE
LLANO-FLOREZ ( 1889-1957 )Stencil.A fine impression with untrimmed margins.From: "Feuillets d'Art"Circa 1919..
AU DINER DANSANT, A SHEHERAZADE
ROMME MARTHA ( ACTIVE FIN XIX-DEBUT XXe )Stencil print with gold highlights.Fine numbered impression, with all margins untrimmed.Slight, uniform yellowing from the opening of an old mat.From: "Feuillets d'Art"Circa 1919..
CHEZ FERNANDE CABANEL
DUFET MICHEL ( 1888-1985 )Nice stencil with gold highlights.Short 2 cm tear in the bottom margin.For: Les Feuillets d'Art1919..
LA LOGE
MARTIN CHARLES (1884-1934)Very nice and fresh proof with large margins on pearly japan, numbered 965/1100.Ca.1914..