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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
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 spectrede 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 Madamede 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, [1920-24]), 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, [1920-24]), 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 François-Louis 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 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 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 François-Louis 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
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 François-Louis 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 François-Louis 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.
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.
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 Elisdu 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
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
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 Begrain and Art Deco Bookbinding
Henri Marius Michel, binding decorated with floral design, on Joris-Karl 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 Masand with an engraving by Georges Henri Manesse (Paris: Libraires-Imprimeurs 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 Begrain, 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 Begrain relieur (Paris: Auguste Blaizot, 1965), plate 3.
Pierre Begrain, 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 Begrain relieur (Paris: Auguste Blaizot, 1965), plate 18 (upper right).
Pierre Begrain, 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 Begrain relieur (Paris: Auguste Blaizot, 1965), color plate C.
Pierre Begrain, maquette with a fountain design, for a binding for RenéBoylesve, Nymphes dansant avec les satyrs (Paris: Calmann-Lévy, [1920]), to be rendered in 1921 by René Kieffer. Preserved in an album of Begrain maquettes, Spencer Collection, New York Public Library.
Pierre Begrain, maquette with a design of crossed chains, 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), to be rendered in 1921 by René Kieffer. Preserved in an album of Begrain maquettes, Spencer Collection, New York Public Library.
Pierre Begrain, 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 Begrain, 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 Begrain, 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. Rousseau-Girard, 1959-61), 3: opposite page 90.
Pierre Begrain, 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 Begrain, 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 Begrain, 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 Begrain, 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 Begrain, 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 Begrain, 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 Begrain, 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 Begrain, 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 Begrain maquettes, Spencer Collection, New York Public Library.
Pierre Begrain, 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 Begrain maquettes, Spencer Collection, New York Public Library.
Pierre Begrain, 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 Begrain, 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 Begrain, lower doublure decorated with a geometric design, in his album of ninety-six original designs and maquettes covering 1917-29. Spencer Collection, New York Public Library.
Pierre Begrain, 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 Begrain relieur (Paris: Auguste Blaizot, 1965), plate 30 (upper right).
Pierre Begrain, 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 Begrain relieur (Paris: Auguste Blaizot, 1965), plate 63 (lower half).
Pierre Begrain, 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 Begrain, upper cover and spine of binding decorated with a
Pierre Begrain, 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 Begrain, 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 Begrain, 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 5.47. 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.
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