 | Studies in bibliography |  |
Illustrations
The following list identifies the 183 illustrations that are cited by marginal
numbers in the text of the lectures. (The two-part entry numbers used here
refer to the lecture number and—after the period—to the illustration number
within that lecture.) The marginal numbers in the text are positioned (as in
Ray's typescript) to show where the slides were to be shown; and the entries
that follow identify each slide in terms of the content of the image, the book
or album from which the image comes (frequently with a page or plate number),
and—except for secondary sources—the collection holding the specific
copy that was photographed. For a record of the illustrations grouped by collection,
see the index that follows, under the entries for Columbia (2 items),
Dr. Jack Eisert (4), Harvard (2), Metropolitan Museum of Art (9), Morgan
Library (69), New York Public Library (28) Princeton (18), Stanford (5), and
Yale (33). Thirteen illustrations were presented by Ray from secondary
sources: 4.1, 5.5-7, 5.13-14, 5.27-30, 5.34-36.
The illustrations may be viewed by visiting the website of the Bibliographical
Society of the University of Virginia at {http://etext.virginia.edu/
bsuva/artdeco}. Eight of these illustrations are also included in the present
volume: 1.18, 2.16, 3.24, 3.30, 4.27, 5.26, 5.37, 5.45.
1. The Livre d'Art of the 1920s
Plate by a student of Eugène Grasset depicting a mosaic bookbinding,
in Grasset's La plante et ses applications ornementales (Paris: Librairie
Centrale des Beaux-Arts, 1896-98), first series, plate 66. Charles Rahn
Fry Collection, Princeton University Library.
Eugène Alain Séguy, floral plate, in his Floréal: dessins & coloris nouveaux
(Paris: Calavas, 1914), plate 17. Charles Rahn Fry Collection,
Princeton University Library.
Jean Saudé, plate showing four patterns, in Édouard Bénédictus, Variations:
quatre-vingt-six motifs décoratifs en vingt planches (Paris: Lévy,
1923), plate 19. Charles Rahn Fry Collection, Princeton University
Library.
Paul Iribe, plate depicting Poiret gowns, in his Les robes de Paul Poiret
(Paris: Poiret, 1908). Gordon N. Ray Collection, Pierpont Morgan Library.
Georges Lepape, plate depicting a turban, in his Les choses de Paul
Fry Collection, Princeton University Library.
Georges Lepape, "Le jaloux: robe du soir de Paul Poiret," in La gazette
du bon ton, 1.6 (April 1913), plate 9. Charles Rahn Fry Collection,
Princeton University Library.
André-Édouard Marty, vignettes of the Ballets Russes Boris Gudonov,
in La gazette du bon ton, June 1913, pp. 246-247. Charles Rahn Fry Collection,
Princeton University Library.
George Barbier, "L'Ilot," in Modes et manières d'aujourd'hui, 3 (Paris:
Maquet, 1914), plate 7. Charles Rahn Fry Collection, Princeton University
Library.
George Barbier, plate depicting Nijinsky in Sheherazade and Le spectre
de la rose, in his Designs on the Dances of Vaslav Nijinsky, translated
by C. W. Beaumont and with a foreword by Francis de Miomandre
(London: Beaumont, 1913). (Originally published as Dessins sur les
danses de Vaslav Nijinsky [Paris: La Belle Édition, 1913].) Columbia
University Library.
George Barbier, plate depicting Tamara Karsavina in Le spectre de la
rose, in Jean-Louis Vaudoyer and George Barbier, Album dédié à Tamar
Karsavina (Paris: Pierre Corrard, 1914). Charles Rahn Fry Collection,
Princeton University Library.
Umberto Brunelleschi, "Arlequin," in Gérard d'Houville and Umberto
Brunelleschi, Les masques et les personnages de la comédie italienne
(Paris: Journal des Dames et des Modes, 1914). Charles Rahn Fry Collection,
Princeton University Library.
Charles Martin, "La balançoire," in Erik Satie and Charles Martin,
Sports et divertissements (Paris: Vogel, 1914). Columbia University
Library.
Jean-Émile Laboureur, "Le docker noir," in his Types de l'armée américaine
en France, with text by A. S. C. and printed by Francis Bernouard
(Paris: La Belle Édition, 1918), plate 7. Gordon N. Ray Collection, Pierpont
Morgan Library.
George Barbier, "En avant!", in his La guirlande des mois, 1 (Paris:
Jules Meynial, 1916), opposite p. 40. Charles Rahn Fry Collection,
Princeton University Library.
Robert Bonfils, plate depicting Clara d'Ellebeuse in her hat at the window,
in Francis Jammes, Clara d'Ellebeuse (Paris: Mercure de France,
1912), p. 11. Gordon N. Ray Collection, Pierpont Morgan Library.
Robert Bonfils, headpiece vignette for chapter 1 depicting a visit to Madame
de Blionne, in Henri de Régnier, Les rencontres de monsieur de
Bréot (Paris: René Kieffer, 1919), p. 1. Gordon N. Ray Collection, Pierpont
Morgan Library.
Robert Bonfils, "La promenade," in his Divertissements des princesses
qui s'ennuient (Paris: Lutetia, 1918), plate 1. Charles Rahn Fry Collection,
Princeton University Library.
Robert Bonfils, "En écoutant Satie," in Modes et manières d'aujourd'hui:
9e anné, 1920 (Paris: Jules Meynial, [1922]), plate 11. Charles Rahn
Fry Collection, Princeton University Library.
2. George Barbier
Charles Martin, portrait of George Barbier, in Barbier's Vingt-cinq
costumes pour le théâtre, with introduction by Edmond Jaloux (Paris:
Camille Bloch, 1927), frontispiece. Watson Library, Metropolitan Museum
of Art.
George Barbier, "Les alliés à Versailles" (1920), engraved by H. Reidel,
in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules
Meynial, [1920-24]), plate 1. Charles Rahn Fry Collection, Princeton
University Library.
George Barbier, "Minuit! . . ou l'appartement à la mode" (1920), engraved
by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la
mode (Paris: Jules Meynial, [1920-24]), plate 7. Frank Altschul Collection,
Beinecke Library, Yale University.
George Barbier, "Chez la marchande des pavots" (1920), engraved by
H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode
(Paris: Jules Meynial, [1920-24]), plate 8. Frank Altschul Collection,
Beinecke Library, Yale University.
George Barbier, "Le goût des laques" (1920), engraved by H. Reidel, in
Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules
Meynial, [1920-24]), plate 9. Frank Altschul Collection, Beinecke Library,
Yale University.
George Barbier, "Au lido" (1924), engraved by H. Reidel, in Barbier's
Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [192024]),
plate 14. Frank Altschul Collection, Beinecke Library, Yale University.
George Barbier, "Au revoir" (1924), engraved by H. Reidel, in Barbier's
Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [192024]),
plate 16. Frank Altschul Collection, Beinecke Library, Yale University.
George Barbier, vignette depicting a figure riding a bird, in his Falbalas
et fanfreluches: almanach des modes présentes, passées et futures, 2
(Paris: Jules Meynial, 1923), title page. Charles Rahn Fry Collection,
Princeton University Library.
George Barbier, vignette depicting a woman on a sofa, in his Falbalas
et fanfreluches: almanach des modes présentes, passées et futures, 4
(Paris: Jules Meynial, 1925), title page. Charles Rahn Fry Collection,
Princeton University Library.
George Barbier, "Gentils propos," in his Falbalas et fanfreluches: almanach
des modes présentes, passées et futures, 1 (Paris: Jules Meynial,
1922). Charles Rahn Fry Collection, Princeton University Library.
George Barbier, "Le soir," in his Falbalas et fanfreluches: almanach des
modes présentes, passées et futures, 5 (Paris: Jules Meynial, 1926). Charles
Rahn Fry Collection, Princeton University Library.
George Barbier, "La gourmandise," in his Falbalas et fanfreluches: almanach
des modes présentes, passés et futures, 4 (Paris: Jules Meynial,
1925). Charles Rahn Fry Collection, Princeton University Library.
George Barbier, "Les trois beautés de Mnasidika," engraved by FrançoisLouis
Schmied, in Pierre Louÿs, Les chansons de Bilitis (Paris: Pierre
Corrard, 1922), opposite p. 72. Frank Altschul Collection, Beinecke Library,
Yale University.
George Barbier, plate depicting the dance of the flowers, engraved by
François-Louis Schmied, in Pierre Louÿs, Les chansons de Bilitis (Paris:
Pierre Corrard, 1922), opposite p. 148. Frank Altschul Collection, Beinecke
Library, Yale University.
George Barbier, original drawing of the dance of the flowers (1914), for
Pierre Louÿs, Les chansons de Bilitis (Paris: Pierre Corrard, 1922).
Frank Altschul Collection, Beinecke Library, Yale University.
George Barbier, plate depicting two figures and a dog, engraved by
François-Louis Schmied and printed by Pierre Bouchet, in Albert Flament,
Personnages de comédie (Paris: Jules Meynial, 1922). Elisha Whittelsey
Collection, Department of Drawings and Prints, Metropolitan
Museum of Art.
George Barbier, plate depicting a Greek sorceress, engraved by FrançoisLouis
Schmied and printed by Pierre Bouchet, in Albert Flament, Personnages
de comédie (Paris: Jules Meynial, 1922). Elisha Whittelsey
Collection, Department of Drawings and Prints, Metropolitan Museum
of Art.
George Barbier, plate depicting Don Juan, in his Vingt-cinq costumes
pour le théâtre, with introduction by Edmond Jaloux (Paris: Camille
Bloch, 1927), plate 2. Watson Library, Metropolitan Museum of Art.
George Barbier, plate depicting Paulette Duval, in his Vingt-cinq costumes
pour le théâtre, with introduction by Edmond Jaloux (Paris:
Camille Bloch, 1927), plate 9. Watson Library, Metropolitan Museum
of Art.
George Barbier, vignette depicting a centaur and a bacchant, engraved
on wood by Pierre Bouchet and combined with typography by FrançoisLouis
Schmied, in Maurice de Guérin, Poèmes en prose (Paris: Auguste
Blaizot, 1928), p. v. Frank Altschul Collection, Beinecke Library, Yale
University.
George Barbier, plate for "Clair de lune," in Paul Verlaine, Fêtes galantes
(Paris: H. Piazza, 1928), opposite p. 3. Houghton Library, Harvard
University.
George Barbier, plate for "Les ingénus," in Paul Verlaine, Fêtes galantes
(Paris: H. Piazza, 1928), opposite p. 27. Houghton Library, Harvard
University.
George Barbier, plate depicting the muse of history, engraved on wood
Contemporain, 1929), frontispiece. Frank Altschul Collection, Beinecke
Library, Yale University.
George Barbier, plate depicting Clodia accompanying her brother, engraved
on wood by Pierre Bouchet, in Marcel Schwob, Vies imaginaires
(Paris: Le Livre Contemporain, 1929), p. 44. Frank Altschul Collection,
Beinecke Library, Yale University.
George Barbier, plate depicting Pocahontas meeting John Smith, engraved
on wood by Pierre Bouchet, in Marcel Schwob, Vies imaginaires
(Paris: Le Livre Contemporain, 1929), p. 126. Frank Altschul Collection,
Beinecke Library, Yale University.
George Barbier, tailpiece vignette depicting a cook (on verso page of
opening) and headpiece vignette for chapter 4 depicting a lizard in the
woods (on recto page of opening), colored by Jean Saudé, in René
Boylesve, Le carrosse aux deux lézards verts (Paris: Éditions de La Guirlande,
1921). Gordon N. Ray Collection, Pierpont Morgan Library.
George Barbier, plate depicting Egyptian entertainments (on verso page
of opening) and vignette of stylized flower (on recto page of opening),
engraved by E. Gasperini and printed by Robert Coulouma, in Théophile
Gautier, Le roman de la momie (Paris: A. & G. Mornay, 1929),
frontispiece and title page. Gordon N. Ray Collection, Pierpont Morgan
Library.
George Barbier, original drawing of a mermaid for the frontispiece to
volume 2 of Choderlos de Laclos, Les liaisons dangereuses (Paris: Le
Vasseur, 1934). Gordon N. Ray Collection, Pierpont Morgan Library.
George Barbier, plate depicting a mermaid, as published in volume 2 of
Choderlos de Laclos, Les liaisons dangereuses (Paris: Le Vasseur, 1934),
frontispiece. Gordon N. Ray Collection, Pierpont Morgan Library.
George Barbier, plate depicting the Marquise de Merteuil's visit to
Cécile Volanges's bedchamber, in Choderlos de Laclos, Les liaisons dangereuses
(Paris: Le Vasseur, 1934), 1: 136. Gordon N. Ray Collection,
Pierpont Morgan Library.
Edy Legrand, vignettes depicting Jacques Cartier relating his discoveries
to Francis I, in Voyages et glorieuses découvertes des grands navigateurs
et explorateurs français (Paris: Tolmer, 1921). Gordon N. Ray Collection,
Pierpont Morgan Library.
Pierre Falké, plate depicting Robinson Crusoe (on verso page of opening)
and border depicting island life (on recto page), in Daniel Defoe,
La vie et les aventures étranges et surprenantes de Robinson Crusoé de
York, marin, translated by Pétrus Borel and with a preface by Pierre Mac
Orlan (Paris: Henri Jonquières, 1926), 1: frontispiece and title page.
Gordon N. Ray Collection, Pierpont Morgan Library.
André-Édouard Marty, plate depicting the Crucifixion, in Pierre Louÿs,
Aphrodite (Paris: Creuzevault, 1936), p. 230. Gordon N. Ray Collection,
Pierpont Morgan Library.
3. François-Louis Schmied
Paul Jouve, plate depicting the rock-python Kaa, engraved by FrançoisLouis
Schmied and printed by Pierre Bouchet, in Rudyard Kipling, Le
livre de la jungle (Paris: Société du Livre Contemporain, 1919), between
pp. 28 and 29. Gordon N. Ray Collection, Pierpont Morgan Library.
Paul Jouve, plate depicting the elephant Toomai, engraved by FrançoisLouis
Schmied and printed by Pierre Bouchet, in Rudyard Kipling, Le
livre de la jungle (Paris: Société du Livre Contemporain, 1919), p. 133.
Gordon N. Ray Collection, Pierpont Morgan Library.
Paul Jouve, vignette of landscape, engraved by François-Louis Schmied
and printed by Pierre Bouchet, in Rudyard Kipling, Le livre de la
jungle (Paris: Société du Livre Contemporain, 1919), p. 75. Gordon N.
Ray Collection, Pierpont Morgan Library.
3.4. Paul Jouve, double plate depicting Kaa's defiance of the monkeys, engraved
by Camille Beltrand and printed by Pierre Bouchet, in Rudyard
Kipling, La chasse de Kaa (Paris: Javal & Bourdeaux, 1930), pp. 98-99.
Gordon N. Ray Collection, Pierpont Morgan Library.
3.5. Pierre Bouchet, typography of opening page of Rudyard Kipling, La
chasse de Kaa (Paris: Javal & Bourdeaux, 1930). Gordon N. Ray Collection,
Pierpont Morgan Library.
Jean Goulden, "Athos: le monastère de Valopédie," engraved and
printed by François-Louis Schmied, in Goulden's Selonique, le Macédoine,
l'Athos (Paris: Chez les Auteurs, 1922). Frank Altschul Collection,
Beinecke Library, Yale University.
Jean Berque, plate depicting the tree of life, engraved and printed by
François-Louis Schmied, in Rabindranath Tagore, L'Offrande lyrique,
translated by André Gide (Paris: Schmied, 1925), frontispiece. Gordon
N. Ray Collection, Pierpont Morgan Library.
François-Louis Schmied, plate showing strips of patterns evocative of
North Africa, in Gustave Flaubert, Salammbô (Paris: Le Livre, 1923),
frontispiece. Frank Altschul Collection, Beinecke Library, Yale University.
François-Louis Schmied, vignette depicting Venetian women at mass, as
headpiece for "La messe de l'aurore à Venise," in Anna Elisabeth de
Brancovan, comtesse de Noailles, Les climats (Paris: Société du Livre
Contemporain, 1924), p. 66. Frank Altschul Collection, Beinecke Library,
Yale University.
Maurice Denis, plate depicting a Sicilian scene, engraved by Camille
Beltrand, in Denis's Carnets de voyage en Italie (Paris: Jacques Beltrand,
1925), opening plate. Gordon N. Ray Collection, Pierpont Morgan
Library.
François-Louis Schmied, special printing of vignette depicting ponds at
evening, for Anna Elisabeth de Brancovan, comtesse de Noailles, Les
climats (Paris: Société du Livre Contemporain, 1924). Frank Altschul
Collection, Beinecke Library, Yale University.
François-Louis Schmied, vignette depicting ponds at evening, as headpiece
for "Les soirs du monde," in Anna Elisabeth de Brancovan, comtesse
de Noailles, Les climats (Paris: Société du Livre Contemporain,
1924), p. 6. Frank Altschul Collection, Beinecke Library, Yale University.
François-Louis Schmied, page of text with large V, in Alfred de Vigny,
Daphné (Paris: Schmied, 1924). Gordon N. Ray Collection, Pierpont
Morgan Library.
François-Louis Schmied, page with geometric decorations, in Alfred de
Vigny, Daphné (Paris: Schmied, 1924). Gordon N. Ray Collection, Pierpoint
Morgan Library.
François-Louis Schmied, two facing pages with text and with vignettes
depicting a garden (on verso page of opening) and a running deer (on
recto page), in Le cantique des cantiques, translated by Ernest Renan
(Paris: Schmied, 1925). Gordon N. Ray Collection, Pierpont Morgan
Library.
François-Louis Schmied, vignette depicting King Solomon and a maiden,
in Le cantique des cantiques, translated by Ernest Renan (Paris:
Schmied, 1925). Gordon N. Ray Collection, Pierpont Morgan Library.
François-Louis Schmied, two facing pages with text and with vertical
decorative panels, in Le cantique des cantiques, translated by Ernest
Renan (Paris: Schmied, 1925). Gordon N. Ray Collection, Pierpont
Morgan Library.
François-Louis Schmied, plate depicting the statue of the Happy Prince,
in Oscar Wilde, Deux contes, translated by Albert Savine (Paris: Schmied,
1926), p. xxi (first story). Gordon N. Ray Collection, Pierpont
Morgan Library.
François-Louis Schmied, page of text with vignette band depicting a
student and a nightingale, in Oscar Wilde, Deux contes, translated by
Albert Savine (Paris: Schmied, 1926), p. xxv (second story). Frank
Altschul Collection, Beinecke Library, Yale University.
François-Louis Schmied, plate depicting a stream in a woods, in Paul
Fort, Les ballades françaises, montagne, forêt, plaine, mer (Lyon: Cercle
Lyonnais du Livre, 1927). Frank Altschul Collection, Beinecke Library,
Yale University.
François-Louis Schmied, vignette band depicting gulls over water, at
the beginning of the section entitled "Ballades de la mer, des golfes et
des ravages," in Paul Fort, Les ballades françaises, montagne, forêt,
plaine, mer (Lyon: Cercle Lyonnais du Livre, 1927). Frank Altschul
Collection, Beinecke Library, Yale University.
François-Louis Schmied, plate depicting Nero, in Suetonius, Les douze
césars, translated by Joseph Estève (Paris: Schmied, 1928), opposite p.
ccxiii. Morgan A. Gunst Collection, Stanford University Library.
François-Louis Schmied, page with text and with vignette depicting
Princess Boudour and Prince Kamaralzamân, colored by Jean Dunand,
in Histoire de la princesse Boudour, translated by J.-C. Mardrus (Paris:
François-Louis Schmied, page with text and with vignette depicting
two supernatural figures, colored by Jean Dunand, in Histoire de la
princesse Boudour, translated by J.-C. Mardrus (Paris: Schmied, 1926).
Frank Altschul Collection, Beinecke Library, Yale University.
François-Louis Schmied, page of text with vignette panel depicting a
harp, colored by Jean Dunand, in Histoire de la princesse Boudour,
translated by J.-C. Mardrus (Paris: Schmied, 1926). Frank Altschul Collection,
Beinecke Library, Yale University.
François-Louis Schmied, plate (right panel of a three-page foldout) depicting
Schmied in Arabian dress, colored by Jean Dunand, in Histoire
charmante de l'adolescente Sucre d'Amour: grand conte oriental inédit,
translated by J.-C. Mardrus (first edition; Paris: Schmied, 1927). Frank
Altschul Collection, Beinecke Library, Yale University.
François-Louis Schmied, page of text with vignette depicting a garden
against the sky, colored by Jean Dunand, in Histoire charmante de
l'adolescente Sucre d'Amour: grand conte oriental inédit, translated
by J.-C. Mardrus (first edition; Paris: Schmied, 1927). Frank Altschul
Collection, Beinecke Library, Yale University.
François-Louis Schmied, plate depicting Caliph Haroun Al-Raschid, in
Histoire charmante de l'adolescente Sucre d'Amour, translated by J.-C.
Mardrus (second edition; Paris: Schmied, 1927), frontispiece. Frank
Altschul Collection, Beinecke Library, Yale University.
François-Louis Schmied, two facing pages of text with vignettes depicting
a moonlit garden (on verso page of opening) and a lotus flower (on
recto page), in Histoire charmante de l'adolescente Sucre d'Amour,
translated by J.-C. Mardrus (second edition; Paris: Schmied, 1927), pp.
132-133. Frank Altschul Collection, Beinecke Library, Yale University.
François-Louis Schmied, plate depicting the creation of light, in La
création: les trois premiers livres de la Genèse suivis de la généalogie
adamique, translated by J.-C. Mardrus (Paris: Schmied, 1928), plate 1.
Gordon N. Ray Collection, Pierpont Morgan Library.
François-Louis Schmied, plate depicting the voice of truth speaking as a
lotus, in J.-C. Mardrus, Livre de la vérité de parole (Paris: Schmied,
1929), plate 7. Morgan A. Gunst Collection, Stanford University Library.
François-Louis Schmied, page with text and with vignette depicting the
wedding of Ruth and Boaz, in Ruth et Booz, translated by J.-C. Mardrus
(Paris: Schmied, 1930). Morgan A. Gunst Collection, Stanford University
Library.
4. Jean-Émile Laboureur
André Dunoyer de Segonzac, portrait of Jean-Émile Laboureur. Reproduced
from Marcel Valotaire, Laboureur (Paris: Henri Babou, 1929),
frontispiece.
Jean-Émile Laboureur, plate depicting a couple caressing (on verso page
of opening), in Roger Allard, L'Appartement des jeunes filles (Paris:
Camille Bloch, 1919), frontispiece. Gordon N. Ray Collection, Pierpont
Morgan Library.
Jean-Émile Laboureur, vignette depicting a couple at tea, printed by A.
Vernant, in Valery Larbaud, Beauté, mon beau souci, with text printed
by Robert Coulouma (Paris: Éditions de la Nouvelle Revue Française,
1920), p. 72. Spencer Collection, New York Public Library.
Jean-Émile Laboureur, vignette depicting a crocodile-skin valise,
printed by A. Vernant, in Valery Larbaud, Beauté, mon beau souci, with
text printed by Robert Coulouma (Paris: Éditions de la Nouvelle Revue
Française, 1920), p. 139. Spencer Collection, New York Public Library.
Jean-Émile Laboureur, vignettes depicting native tribesmen (left) and
Chief Ampanani (right), in Évariste Parny, Chansons madécasses (Paris:
Éditions de la Nouvelle Revue Française, 1920), title page and p. 11.
Gordon N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, plate depicting Bougainville waving to the
natives, in Denis Diderot, Supplément au voyage de Bougainville (Paris:
Éditions de la Nouvelle Revue Française, 1921). Gordon N. Ray Collection,
Pierpont Morgan Library.
Jean-Émile Laboureur, plate depicting Silbermann after a fight, in
Jacques de Lacretelle, Silbermann (Paris: Nouvelle Revue Française,
1925), opposite p. 68. Collection of Dr. Jack Eisert, Tarrytown, N.Y.
Jean-Émile Laboureur, plate depicting Silbermann overhearing a conversation,
in Jacques de Lacretelle, Silbermann (Paris: Nouvelle Revue
Française, 1925), opposite p. 136. Collection of Dr. Jack Eisert, Tarrytown,
N.Y.
Jean-Émile Laboureur, plate depicting a woman's head, in Remy de
Gourmont, Le songe d'une femme (Paris: Camille Bloch, 1925), frontispiece.
Gordon N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, vignette depicting a forest scene, in Remy de
Gourmont, Le songe d'une femme (Paris: Camille Bloch, 1925), p. 65.
Gordon N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, vignette depicting pots of jam, in Remy de
Gourmont, Le songe d'une femme (Paris: Camille Bloch, 1925), p. 31.
Gordon N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, plate depicting a theatrical troupe in the rain,
in Colette, L'Envers du music-hall (Paris: Au Sans Pareil, 1926), frontispiece.
Gordon N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, headpiece for "On arrive, on répète" depicting
actors on stage, in Colette, L'Envers du music-hall (Paris: Au Sans
Pareil, 1926), p. 9. Gordon N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, plate depicting fairy-tale characters, in Charles
Perrault, Contes (Paris: Robert Hilsum, 1928), p. 9. Gordon N. Ray
Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, vignette depicting soldiers at their morning
Livre, 1926), p. 167. Gordon N. Ray Collection, Pierpont Morgan
Library.
Jean-Émile Laboureur, vignette depicting Private Scott destroyed by a
shell, in André Maurois, Les silences du Colonel Bramble (Paris: Le
Livre, 1926), p. 75. Gordon N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, vignette depicting Private Biggs approaching a
German trench, in André Maurois, Les discours du docteur O'Grady
(Paris: Le Livre, Émile Chamontin, 1929), p. 112. Gordon N. Ray Collection,
Pierpont Morgan Library.
Jean-Émile Laboureur, vignette depicting Colonel Bramble and Aurelle,
in André Maurois, Les silences du Colonel Bramble (Paris: Le
Livre, 1926), p. 135. Gordon N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, headpiece depicting Wotton speaking to Hallward,
in Oscar Wilde, Le portrait de Dorian Gray, translated by Edmond
Jaloux and Félix Frapereau (Paris: Le Livre, Émile Chamontin, 1928),
p. 1. New York Public Library.
Jean-Émile Laboureur, headpiece depicting Dorian Gray in Covent
Garden market, in Oscar Wilde, Le portrait de Dorian Gray, translated
by Edmond Jaloux and Félix Frapereau (Paris: Le Livre, Émile Chamontin,
1928), p. 125. New York Public Library.
Jean-Émile Laboureur, headpiece depicting Dorian Gray killing himself,
in Oscar Wilde, Le portrait de Dorian Gray, translated by Edmond
Jaloux and Félix Frapereau (Paris: Le Livre, Émile Chamontin, 1928),
p. 341. New York Public Library.
Jean-Émile Laboureur, plate depicting the seeming assassination of
Biondetta, in Jacques Cazotte, The Devil in Love (London: Heinemann;
Boston: Houghton Mifflin, 1925), p. 48. Elisha Whittelsey Collection,
Department of Drawings and Prints, Metropolitan Museum of
Art.
Jean-Émile Laboureur, plate depicting Sterne's purchase of gloves, in
Laurence Sterne, A Sentimental Journey through France and Italy
(Waltham Saint Lawrence, Berkshire: Golden Cockerell Press, 1928),
opposite p. 69. Gordon N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, vignette and plate (on facing pages) depicting
Gilpin at the calenderer's gate, executed by Lucien Serre et Cie., in
William Cowper, The Diverting History of John Gilpin (Paris: Ronald
Davis, 1931). New York Public Library.
Jean-Émile Laboureur, "La fille au litre," in The New Keepsake for the
Year 1921, edited by Marcel Boulestin and Laboureur (London and
Paris: Chelsea Book Club for X. M. Boulestin, 1921), p. 35. Gordon N.
Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, plate depicting a scene before an elevator, in
Jean Valmy-Baysse, Tableau des grands magasins (Paris: Éditions de la
Pierpont Morgan Library.
Jean-Émile Laboureur, plate depicting a department store at Christmas,
in Jean Valmy-Baysse, Tableau des grands magasins (Paris: Éditions de
la Nouvelle Revue Française, 1925), opposite table of contents. Gordon
N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, plate depicting a dancer in a bar, in Nina Toye
and A. H. Adair, Petits et grands verres: choix des meilleurs cocktails,
translated by Laboureur under the pseudonym of Ph. Le Huby (Paris:
Au Sans Pareil, 1927). Department of Drawings and Prints, Metropolitan
Museum of Art.
Jean-Émile Laboureur, plate depicting a Portuguese hotel dining room,
in Valery Larbaud, 200 chambres, 200 salles de bain (Le Haye: J.
Gondrexon, 1927). Department of Drawings and Prints, Metropolitan
Museum of Art.
Jean-Émile Laboureur, plate depicting Camuset's great-uncle suffering
a stroke at table, in Georges Camuset, Les sonnets du docteur (Dijon:
Éditions du Raisin, 1926), p. 52. Department of Drawings and Prints,
Metropolitan Museum of Art.
Jean-Émile Laboureur, plate depicting Lafcadio committing a murder,
in André Gide, Lafcadio, vol. 5 (1930) of Les caves du Vatican, printed
by L'Imprimerie Aulard and L'Imprimerie Rigal (Paris: Gallimard
[with monogram of Nouvelle Revue Française], 1929-30), frontispiece.
New York Public Library.
Jean-Émile Laboureur, plate depicting a beekeeper and his hives, in
Maurice Maeterlinck, La vie des abeilles (Paris: L'Artisan du Livre,
1930), frontispiece. Collection of Dr. Jack Eisert, Tarrytown, N.Y.
Jean-Émile Laboureur, vignette depicting a queen termite and her consort,
in Maurice Maeterlinck, La vie des termites (Paris: L'Artisan du
Livre, 1930), p. 89. Collection of Dr. Jack Eisert, Tarrytown, N.Y.
Jean-Émile Laboureur, vignette depicting Suzanne aboard an ocean
liner, printed by A. Jourde, in Jean Giraudoux, Suzanne et le Pacifique
(Paris: Les Cent Une [Société de femmes bibliophiles], 1927), p. 62.
Gordon N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, vignette depicting Suzanne and the island creatures,
printed by A. Jourde, in Jean Giraudoux, Suzanne et le Pacifique
(Paris: Les Cent Une [Société de femmes bibliophiles], 1927), p. 101.
Gordon N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, vignette depicting Suzanne in an idyllic setting,
printed by A. Jourde, in Jean Giraudoux, Suzanne et le Pacifique (Paris:
Les Cent Une [Société de femmes bibliophiles], 1927), p. 180. Gordon
N. Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, vignette depicting the rescue of Suzanne, printed
by A. Jourde, in Jean Giraudoux, Suzanne et le Pacifique (Paris: Les
Cent Une [Société de femmes bibliophiles], 1927), p. 244. Gordon N.
Ray Collection, Pierpont Morgan Library.
Jean-Émile Laboureur, vignette depicting cigarettes, holder, ashtray,
and matchbox, in Paul-Jean Toulet, Les contrerimes (Paris: H.-M.
Petiet, 1930), p. 87. Spencer Collection, New York Public Library.
Jean-Émile Laboureur, vignette depicting an elephant in Paris, in
Paul-Jean Toulet, Les contrerimes (Paris: H.-M. Petiet, 1930), p. 33.
Spencer Collection, New York Public Library.
Jean-Émile Laboureur, vignette depicting a young girl awaking, in
Paul-Jean Toulet, Les contrerimes (Paris: H.-M. Petiet, 1930), p. 30.
Spencer Collection, New York Public Library.
5. Pierre Legrain and Art Deco Bookbinding
Henri Marius Michel, binding decorated with floral design, on JorisKarl
Huysmans, À rebours, illustrated by Auguste Lepère (Paris: Les
Cent bibliophiles, 1903). Gordon N. Ray Collection, Pierpont Morgan
Library.
Charles Meunier, doublure depicting a Parisian bookstall, in Octave
Uzanne, Physiologies des quais de Paris, illustrated by Émile Mas
and with an engraving by Georges Henri Manesse (Paris: LibrairesImprimeurs
Réunies, 1893). Gordon N. Ray Collection, Pierpont Morgan
Library.
Émile Maylander, upper cover and spine of binding decorated with
center and corner ornaments within a border, on Franz Toussaint, Le
jardin des caresses, illustrated by Léon Carré (Paris: H. Piazza, 1914).
Gordon N. Ray Collection, Pierpont Morgan Library.
Charles Meunier, upper cover and spine of binding (1924) decorated
with a panel based on one of Louis Legrand's etchings, on Erastène
Ramiro, Faune parisienne, illustrated by Legrand (Paris: Gustave Pellet,
1901). Gordon N. Ray Collection, Pierpont Morgan Library.
Pierre Legrain, upper covers of four bindings with lettering, executed
by René Kieffer in 1916-19 for Jacques Doucet, on André Suarès,
"Sur la vie: Latin et Sorbonne" (manuscript of 13 leaves), Georges Duhamel,
L'Homme en tête (Paris: Vers et Prose, 1909), Paul Claudel,
Le pain dur (Paris: Éditions de la Nouvelle Revue Française, 1918),
and Paul Claudel, L'Annonce faite à Marie (Paris: Éditions de la
Nouvelle Revue Française, 1912). Reproduced from Pierre Legrain
relieur (Paris: Auguste Blaizot, 1965), plate 3.
Pierre Legrain, upper cover of binding decorated with circles and curved
lines, executed by René Kieffer, on Maurice Maeterlinck, Serres chaudes
(Bruxelles: P. Lacomblez; Paris: Calmann-Lévy, 1910). Reproduced
from Pierre Legrain relieur (Paris: Auguste Blaizot, 1965), plate 18
(upper right).
Pierre Legrain, upper cover of binding decorated with a black cross
(1922), on Roland Dorgelès, Les croix de bois, illustrated by André
Dunoyer de Segonzac (Paris: La Banderole, 1921). Reproduced from
Pierre Legrain relieur (Paris: Auguste Blaizot, 1965), color plate C.
Pierre Legrain, maquette with a fountain design, for a binding for René
Boylesve, Nymphes dansant avec les satyrs (Paris: Calmann-Lévy, [1920]),
to be rendered in 1921 by René Kieffer. Preserved in an album of Legrain
maquettes, Spencer Collection, New York Public Library.
Pierre Legrain, maquette with a design of crossed chains, for a binding
for Oscar Wilde, Ballade de la géôle de Reading, translated by HenryD.
Davray and illustrated by Jean-Gabriel Daragnès (Paris: L. Pichon,
1918), to be rendered in 1921 by René Kieffer. Preserved in an album of
Legrain maquettes, Spencer Collection, New York Public Library.
Pierre Legrain, upper cover of binding decorated with a buckle design
and mother-of-pearl inlay (1925), on André Gide, La porte étroite
(Paris: Société du Mercure de France, 1909). Florence Blumenthal copy,
George Blumenthal Collection, New York Public Library.
Pierre Legrain, upper cover and spine of binding decorated with a
central oval of wood (1925), on André Gide, Isabelle ("4th édition";
Paris: Éditions de la Nouvelle Revue Française, 1911). Florence Blumenthal
copy, George Blumenthal Collection, New York Public Library.
Pierre Legrain, upper cover and spine of binding decorated with a pattern
of crossing bars (1922-24), on Octave Mirbeau, Le journal d'une
femme de chambre (Paris: E. Fasquelle, 1900). Gordon N. Ray Collection,
Pierpont Morgan Library.
Henri Marius Michel, binding decorated with floral ornamentation, on
Denis Diderot, Le neveu de Rameau, illustrated by Bernard Naudin
(Paris: Auguste Blaizot, 1924). Reproduced from Roger Devauchelle,
La reliure en France de ses origines à nos jours (Paris: J. RousseauGirard,
1959-61), 3: opposite page 90.
Pierre Legrain, upper cover of binding decorated with a geometric design,
on Denis Diderot, Le neveu de Rameau, illustrated by Bernard
Naudin (Paris: Auguste Blaizot, 1924). Reproduced from Roger Devauchelle,
La reliure en France de ses origines à nos jours (Paris: J.
Rousseau-Girard, 1959-61), 3: frontispiece.
Pierre Legrain, upper cover and spine of binding decorated with irregularly
spaced parallel lines, on Paul Valéry, Monsieur Teste (Paris:
Éditions de la Nouvelle Revue Française, 1927). Florence Blumenthal
copy, George Blumenthal Collection, New York Public Library.
Pierre Legrain, upper cover and spine of binding decorated with diagonal
parallel lines (1927), on Anna Elisabeth de Brancovan, comtesse de
Noailles, Les forces éternelles (Paris: A. Fayard, 1920). Florence Blumenthal
copy, George Blumenthal Collection, New York Public Library.
Pierre Legrain, binding decorated with crossing narrow bands (1927),
on Oscar Wilde, Deux contes, translated by Albert Savine (Paris:
Schmied, 1926). Gordon N. Ray Collection, Pierpont Morgan Library.
Pierre Legrain, upper cover and spine of binding decorated with curved
parallel lines (1926), on René Boylesve, Souvenirs d'un jardin détruit,
illustrated by Maximilien Vox (Paris: J. Ferenczi & Fils, 1924). Florence
Blumenthal copy, Spencer Collection, New York Public Library.
Pierre Legrain, binding decorated with circular designs (1927), on
Charles Baudelaire, Les paradis artificiels (Paris: Poulet-Malassis et de
Broise, 1861). Gordon N. Ray Collection, Pierpont Morgan Library.
Pierre Legrain, binding decorated with serpent-like curves (1928), on
Paul Valéry, La jeune Parque, illustrated by Jean-Gabriel Daragnès
(Paris: Émile-Paul Frères, 1925). Florence Blumenthal copy, Spencer
Collection, New York Public Library.
Jean-Gabriel Daragnès, serpent vignette, in Paul Valéry, La jeune Parque
(Paris: Émile-Paul Frères, 1925), title page. Florence Blumenthal
copy, Spencer Collection, New York Public Library.
Pierre Legrain, maquette with an abstract design suggesting flowers,
for a binding for Gérard d'Houville, Le diadème de flore, illustrated by
André-Édouard Marty and engraved by Georges Beltrand (Paris: Le
Livre, 1928). Preserved in an album of Legrain maquettes, Spencer Collection,
New York Public Library.
Pierre Legrain, maquette with a design suggesting a barred window, for
a binding for Oscar Wilde, Ballade de la géôle de Reading, translated
by Henry-D. Davray and illustrated by Jean-Gabriel Daragnès (Paris: L.
Pichon, 1918). Preserved in an album of Legrain maquettes, Spencer
Collection, New York Public Library.
Pierre Legrain, maquette with a geometric design, for the upper doublure
of his album of ninety-six original designs and maquettes covering
1917-29. Preserved in the album, Spencer Collection, New York
Public Library.
Pierre Legrain, maquette with a geometric design, for the lower doublure
of his album of ninety-six original designs and maquettes covering
1917-29. Preserved in the album, Spencer Collection, New York
Public Library.
Pierre Legrain, lower doublure decorated with a geometric design, in
his album of ninety-six original designs and maquettes covering 191729.
Spencer Collection, New York Public Library.
Pierre Legrain, upper cover of binding decorated with parallel bands
crossed with parallel lines, on Paul Verlaine, Parallèlement, illustrated
by Pierre Bonnard (Paris: Ambroise Vollard, 1900). Reproduced from
Pierre Legrain relieur (Paris: Auguste Blaizot, 1965), plate 30 (upper
right).
Pierre Legrain, binding decorated with interlocking circles, on Longus,
Daphnis et Chloè, translated by J. Amyot and illustrated by Pierre
Bonnard (Paris: Ambroise Vollard, 1902). Reproduced from Pierre
Legrain relieur (Paris: Auguste Blaizot, 1965), plate 63 (lower half).
Pierre Legrain, upper cover and spine of binding decorated with an
angular geometric design, on Le cantique des cantiques, translated by
Ernest Renan (Paris: Schmied, 1925). Reproduced from Rose Adler,
Reliures présenté par Rose Adler (Paris: Éditions d'Art Charles Moreau,
[1929]), plate 10 (right).
Pierre Legrain, upper cover and spine of binding decorated with a
translated by Ernest Renan (Paris: Schmied, 1925). Reproduced from
Rose Adler, Reliures présenté par Rose Adler (Paris: Éditions d'Art
Charles Moreau, [1929]), plate 40 (lower right).
Pierre Legrain, upper cover and spine of binding decorated with a
stylized moon against the sky, on Georges Rouault, Paysages légendaires
(Paris: Porteret, 1929). Florence Blumenthal copy, George Blumenthal
Collection, New York Public Library.
Pierre Legrain, upper cover of binding decorated with a diagonal scallop
design, on Paul Valéry, Poésies (Paris: Éditions de la Nouvelle Revue
Française, 1929). Florence Blumenthal copy, George Blumenthal Collection,
New York Public Library.
Rose Adler, binding decorated with angular vertical panels, gilded by
Adolphe Cuzin, on Frédéric Charles Longchamp, Les vices capitaux,
illustrated by Vassiliaky Photiadès and with calligraphy by Charles
Ducret (Paris and Lausanne: Librairie des Bibliophiles, 1922). Spencer
Collection, New York Public Library.
Rose Adler, two bindings, the first decorated with a streaming band and
the second with a grid panel, on Philippe Auguste Mathias, comte de
Villiers de L'Isle-Adam, Trois contes cruels (Paris: Société de la Gravure
sur Bois Originale, 1927) and Prosper Mérimée, Carmen (edition
not identified). Reproduced from Rose Adler, Reliures présenté par
Rose Adler (Paris: Éditions d'Art Charles Moreau, [1929]), plate 37.
Rose Adler, binding decorated with kicking limbs, on Colette, L'Envers
du music-hall, illustrated by Jean-Émile Laboureur (Paris: Au Sans
Pareil, 1926). Reproduced from Rose Adler, Reliures présenté par Rose
Adler (Paris: Éditions d'Art Charles Moreau, [1929]), plate 49.
Pierre Legrain, binding decorated with spotlights and light-beams, on
Colette, L'Envers du music-hall, illustrated by Jean-Émile Laboureur
(Paris: Au Sans Pareil, 1926). Reproduced from Rose Adler, Reliures
présenté par Rose Adler (Paris: Éditions d'Art Charles Moreau, [1929]),
plate 42.
Rose Adler, upper cover and spine of binding decorated with a panel of
short bands (1931), on Tristan Bernard, Tableau de la boxe, illustrated
by André Dunoyer de Segonzac (Paris: Éditions de la Nouvelle Revue
Française, 1922). Spencer Collection, New York Public Library.
Rose Adler, upper cover and spine of binding decorated with spaced
horizontal and slanting lines (1948), on Paul-Jean Toulet, Les contrerimes,
illustrated by Jean-Émile Laboureur (Paris: H.-M. Petiet, 1930).
Gordon N. Ray Collection, Pierpont Morgan Library.
Germaine Schroeder, upper cover and spine of binding decorated with
a ribbon title over a check pattern, on Jean Giraudoux, Juliette au pays
des hommes, illustrated by Charles Laborde (Paris: Émile-Paul Frères,
1926). Gordon N. Ray Collection, Pierpont Morgan Library.
Andrée and Jeanne Langrand, upper cover and spine of binding decorated
with a geometric band at foot, on Alfred de Vigny, Daphné (Paris:
Mme. Marot-Rodde, upper cover and spine of binding decorated with
parallel vertical lines massed at right, on Gustave Geffroy, L'Apprentie,
illustrated by Auguste Brouet and printed at Imprimerie Lahure (Paris:
Frédéric Grégoire, 1924). Gordon N. Ray Collection, Pierpont Morgan
Library.
François-Louis Schmied, maquette with a design of vertical panels, for
a binding for La création: les trois premiers livres de la Genèse suivis de
la généalogie adamique, translated by J.-C. Mardrus (Paris: Schmied,
1928). Frank Altschul Collection, Beinecke Library, Yale University.
François-Louis Schmied, upper cover of binding decorated with vertical
panels, executed by Georges Cretté with panel lacquered by Jean Dunand,
on La création: les trois premiers livres de la Genèse suivis de la
généalogie adamique, translated by J.-C. Mardrus (Paris: Schmied,
1928). Frank Altschul Collection, Beinecke Library, Yale University.
François-Louis Schmied, maquette with a depiction of King Solomon,
for upper cover of binding for Le cantique des cantiques, translated by
Ernest Renan (Paris: Schmied, 1925). Frank Altschul Collection, Beinecke
Library, Yale University.
François-Louis Schmied, upper cover of binding decorated with a geometric
pattern and a depiction of King Solomon on a panel lacquered
by Jean Dunand, on Le cantique des cantiques, translated by Ernest
Renan (Paris: Schmied, 1925). Frank Altschul Collection, Beinecke
Library, Yale University.
François-Louis Schmied, maquette with a design of a stylized garden,
for lower cover of binding for Le cantique des cantiques, translated by
Ernest Renan (Paris: Schmied, 1925). Frank Altschul Collection, Beinecke
Library, Yale University.
François-Louis Schmied, lower cover of binding decorated with a geometric
pattern and a stylized depiction of a garden on a panel lacquered
by Jean Dunand, on Le cantique des cantiques, translated by
Ernest Renan (Paris: Schmied, 1925). Frank Altschul Collection, Beinecke
Library, Yale University.
François-Louis Schmied, upper cover and spine of binding decorated
with geometric forms and vertical line of bubbles, on La création: les
trois premiers livres de la Genèse suivis de la généalogie adamique,
translated by J.-C. Mardrus (Paris: Schmied, 1928). Gordon N. Ray
Collection, Pierpont Morgan Library.
Georges Cretté, upper cover and spine of binding decorated with floral
corner-pieces, on Marcel Proust, À l'ombre des jeunes filles en fleur
(Paris: Éditions de la Nouvelle Revue Française, 1920). Gordon N. Ray
Collection, Pierpont Morgan Library.
Georges Cretté, upper cover and spine of binding decorated with bands
at head and foot, on Émile Verhaeren, Les campagnes hallucinées, illustrated
by Frank Brangwyn (Paris: Helleu & Sergent, 1927). Gordon N.
Ray Collection, Pierpont Morgan Library.
Georges Cretté, upper cover and spine of binding decorated with floral
enamel by Jean Goulden, on Marceline Desbordes-Valmore, XII élégies,
illustrated by Charles Guérin and printed by Marius Audin (Paris:
Cercle Lyonnais du Livre, 1925). Gordon N. Ray Collection, Pierpont
Morgan Library.
Georges Cretté, upper cover and spine of binding decorated with a bird
above dots and lines, on André Suarès, Le livre d'émeraude, illustrated
by Auguste Brouet and printed by Robert Coulouma (Paris: Éditions
d'Art Devambez, 1927). Gordon N. Ray Collection, Pierpont Morgan
Library.
Henri Creuzevault, upper cover and spine of binding decorated with
horizontal lines, on Gus Bofa, Synthèses littéraires et extra littéraires,
introduced by Roland Dorgelès (Paris: Mornay, 1923). Gordon N. Ray
Collection, Pierpont Morgan Library.
Henri Creuzevault, upper cover and spine of binding decorated with a
geometric pattern incorporating lettering, on Paul Valéry, Discours
(Paris: Javal & Bourdeaux, 1928). Gordon N. Ray Collection, Pierpont
Morgan Library.
Henri Creuzevault, binding decorated with crossing diagonal lines, on
Francis Carco, Quelques-unes, illustrated by Louis Legrand and printed
by Maurice Darantière (Paris: Pro Amicis, 1931). Gordon N. Ray Collection,
Pierpont Morgan Library.
Henri Creuzevault, upper cover and spine of binding decorated with a
panel containing a stylized landscape, on Maurice Denis, Carnets de
voyage en Italie, 1921-1922, printed at L'Imprimerie Lahure and by
Marcel Lacou and Émile Lainé (Paris: Jacques Beltrand, 1925). Gordon
N. Ray Collection, Pierpont Morgan Library.
Robert Bonfils, upper cover of binding decorated with letters in a
circular arrangement, on Revue musicale, Special Number for 1921
(Paris: Éditions de la Nouvelle Revue Française). Morgan A. Gunst
Collection, Stanford University Library.
René Kieffer, upper cover of binding decorated with letters over curved
lines (1927), on Blaise Cendrars, La fin du monde, filmée par l'Agne
N.-D., illustrated by Fernand Léger (Paris: Éditions de la Sirène, 1919).
Morgan A. Gunst Collection, Stanford University Library.
| Studies in bibliography | |