:: :: University of Virginia Library

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.

[2.2]

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.

[2.3]

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.

[2.4]

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.

[2.5]

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.

[2.6]

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.

[2.7]

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.

[2.8]

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.

[2.9]

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.

[2.10]

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.

[2.11]

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.

[2.12]

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.

[2.13]

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.

[2.14]

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.

[2.15]

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.

[2.16]

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.

[2.17]

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.

[2.18]

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.

[2.19]

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.

[2.20]

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.

[2.21]

George Barbier, plate for "Clair de lune," in Paul Verlaine, Fêtes galantes (Paris: H. Piazza, 1928), opposite p. 3. Houghton Library, Harvard University.

[2.22]

George Barbier, plate for "Les ingénus," in Paul Verlaine, Fêtes galantes (Paris: H. Piazza, 1928), opposite p. 27. Houghton Library, Harvard University.

[2.23]

George Barbier, plate depicting the muse of history, engraved on wood

114

by Pierre Bouchet, in Marcel Schwob, Vies imaginaires (Paris: Le Livre Contemporain, 1929), frontispiece. Frank Altschul Collection, Beinecke Library, Yale University.

[2.24]

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.

[2.25]

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.

[2.26]

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.

[2.27]

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.

[2.28]

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.

[2.29]

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.

[2.30]

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.

[2.31]

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.

[2.32]

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.

[2.33]

André-Édouard Marty, plate depicting the Crucifixion, in Pierre Louÿs, Aphrodite (Paris: Creuzevault, 1936), p. 230. Gordon N. Ray Collection, Pierpont Morgan Library.