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Marlier, Marcel (1930-2011).
Mine de plomb, gouache et aquarelle pour une illustration originale réalisée dans les années 80. Composition pour une carte postale vendue au profit de l’A.M.I.E. Dessin réalisé sur papier gaufré de grande qualité. On y joint la carte publiée. Sans nul doute, une pièce de prestige !
Marcel Marlier réalise en 1950 la première aventure de Martine: ‘Martine à la ferme’. Il deviendra très vite un maître dans l’utilisation de
la gouache, avec laquelle il réalisera de sublimes oeuvres. Plus tard, il utilisera diverses techniques comme l’aquarelle ou l’aérographe, avec
le même talent. Cette maîtrise parfaite fera de cet auteur discret celui qui permettra à des milliers d’enfants à travers le monde d’aborder la
lecture avec plaisir.
Aleksandr Yevgeniyevich YAKOVLEF
Aleksandr Yevgeniyevich YAKOVLEF (Paul POIRET) L'Heure du rendez-vous. Manteau d'après-midi, de Paul Poiret (pl.71, La Gazette du Bon ton, 1920 n°9) Lucien Vogel éditeur, Paris 1920, 18x24cm, une feuille. Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication “was aimed at bibliophiles and fashionable society,” (Françoise Tétart-Vittu, “La Gazette du bon ton”, in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff – the sister of Jean, creator of Babar – to set up the Gazette du bon ton, subtitled at the time: “Art, fashion, frivolities.” Georges Charensol noted the reasoning of the editor-in-chief: “’In 1910,’ he observed, ‘there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists…I was assured of success, because when it comes to fashion, no country on earth can compete with France.’” (“Un grand éditeur d’art. Lucien Vogel” in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator’s conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together – for the first time – the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on… Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that “little dying paper” that Nast had bought a few years earlier: Vogue. 200 € Réf : 54817 OrderRead more
Marcelle Lender, en Buste. 1895.
Artist: HENRI DE TOULOUSE-LAUTREC (1864-1901)Size: 10 3/8 x 14 in./26.3 x 35.5 cmCondition: A. Framed.Reference: Wittrock, 99-IV; Adriani, 115-IVa; PAI-LXIX, 668Key Words: Art NouveauMarcelle Lender, en Buste. 1895.Parisian actress Marcelle Lender had been appearing in a series of comic operas, principally at the Théâtre des Variétés, since 1889. Utterly enamored with the performer, Lautrec did many drawings of her in a variety of her roles. Here, she is depicted in Chilpéric, an operetta-revue that was revived in 1895. "The main attraction in Chilpéric was the bolero, danced by Marcelle Lender as the Galaswintha at the court of King Chilpéric. It was not so much the flimsy plot of this medieval farce as the actress ... who led Lautrec to sit through the operetta nearly twenty times. Always watching from the same angle, from one of the first tiers on the left, he would lie in wait with his sketch pad" (Adriani, p. 157). Lautrec’s attentions were well repaid. His half-length portrait of Lender in her fantastic Spanish costume, bowing to the audience applause, is considered a lithographic masterpiece. "No other lithograph is printed with such a wealth of subtle color combinations, and none embodies, as this does, the opulent decoration of an age moving towards its close" (p. 161). This is the Pan edition.Read more
An abstract lithograph executed in bright red, yellow and black by Post War artist Alexander Calder. "The Trefe" is signed and editioned in lower left, "Calder 66/75." Provenance: Private Collection, Minnesota; Borghi Fine Art, NJ. Alexander Calder was a prolific American artist who infused his artwork with a wit and whimsy inspired by his early fascination with the circus. His childhood hobby of crafting objects from found materials initially led to a degree in engineering and applied kinetics. However, only four years later Calder enrolled in the Art Students league in New York in 1923, and began his first freelance art job in 1925. In doing so, Calder followed in the footsteps of his father and grandfather, who were classically trained and practicing artists. Calder’s Circus (Whitney Museum), the small-scale model of a Circus involving wire, wood, cloth, and leather string, among other materials, is an early example of this interest and represents one of Calder’s first wire “drawings.” While many artists made contour line drawings on paper, Calder used wire to draw three-dimensional people, creatures, and things into space. Eventually, these three-dimensional figurative drawings evolved into more abstract forms, which would become known as mobiles. In 1932, Calder exhibited his first moving sculpture in an exhibition organized by Marcel Duchamp, who coined the word "mobile." These kinetic sculptures are composed of wire counterbalanced with thin metal fins that are set in motion by random air currents to create natural movement. In addition to these sculptures, he created stabiles, or static sculptures, which are now installed in major museum collections around the world. His creation and elaboration of the mobile and stabile are his most lasting contributions to the history of art.Read more
PABLO PICASSO L'Homme au Chien. Etching on Japan paper, 1914. 278x218 mm; 11x8 1/2 inches, full margins. Edition of 40 (there was also an edition of 60 on cream wove paper). Signed in red crayon, lower right. Printed by Macquart, Paris. Published by Lucien Vollard and Marcel Lecomte, Paris. A superb, dark impression of this very scarce, early etching. Bloch 28; Geiser 39. Estimate $20,000 - 30,000Read more
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