Softcover, Erstausgabe, Signiert von Justin Croft Antiquarian Books Ltd ABA (5 Ergebnisse)

First edition, in a superb geometric binding by Henri Creuzevault. This is copy III of 5 copies on vieux japon (of a total edition of only 45 copies, the remainder on japon imperial), bound without the additional suite on chine. All the plates are signed in pencil. Sappho is one of Mariette Lydis's rarest books, and among the most provocative, with its large format plates demonstrating her mastery of the etched line. Still under-appreciated and under-represented in institutional collections, Lydis is one of the most intriguing artistic figures of her era. Her youth in bourgeois Jewish Vienna was followed by travels across Europe, Africa and later England, the USA and South America. She settled in Paris in the 1920s (later describing the city as 'the only place where it is possible to forget the brutality of men') where she embraced the fluidity of culture and sexuality she found there. Though married three times (the last to publisher Giuseppe Govone, with whom she jointly published Sappho) she was openly bisexual. Her flight from Europe to Argentina in 1940 and subsequent isolation from European collectors and artistic movements perhaps served to obscure the astonishing range of her graphic art in the twenties and thirties.The contemporary binding of this copy is an especially striking example of the art deco architectural style of Henri Creuzevault (1905-1971), among the most prominent and celebrated Parisian binders of the immediate pre-war era. Camille Creuzevault illustrates an almost identical binding on a copy of Pierre Louys' Aphrodite of 1936 (Henri Creuzevault, II, 59). 'Henri Creuzevault intended to be a painter but in 1918 he learned the craft of leather-gilding and then entered the binding studio of his father Louis Lazare Creuzevault. During his military service in the Middle East in 1925, he again took up painting and drawing. The following year, back in his father's studio, he drew his first sketches and exhibited his bindings at the Musée Galliera where he won first prize in 1928. Creuzevault's art, always highly rigorous, developed throughout his life. His early style was fairly sober and traditional, progressing in the 1930s to compositions in the style of Art Deco, and 10 years later returning to an austere Classicism before the production of his bold works of the 1950s. ' (Benezit). Folio (323 × 245 mm), 15 etched erotic plates, all signed by Lydis in pencil, with facing text in Greek and French, plus a final double-page key/colophon sheet with each of the images in miniature, title and justification leaf, original wrappers preserved. Contemporary tan goatskin by Henri Creuzevault (signed) with a bold geometric design of fifteen horizontal bands and rectangles in relief, spine lettered in gilt. Slipcase and chemise (rubbed, the spine of the latter slightly cracked). A superb copy. [Worldcat lists copies at Cornell, Harvard and Bibliothèque nationale only (there are also copies at Edinburgh University and the National Gallery of Scotland).].

Bestandsnummer des Verkäufers 8476

First edition of this collection with the Lydis illustrations. Number 152 of 165 copies. Chant des Amazones is a celebration of female athleticism in verse, prose and image, Chant des Amazones is a celebration of female athleticism in verse, prose and image and is dedicated to 'une jeune fille victorieuse dans la course des 1,000 mètres'. The texts are drawn from Montherlant's Les Onze devant la porte dorée (1924) which he had written against the background of preparations for the 1924 Paris Olympics. Women's participation in Olympic athletics was then extremely limited, but the decade after 1924 witnessed its rapid expansion and a general enthusiasm for women's sport, reflected in this book. Well-known as a writer, Montherlant was an important contact for Lydis throughout her career though his posthumous reputation has revealed him as a serial pederast and dabbler in right-wing politics. His later works were marked by distinct anti-feminism and misogyny. Lydis' illustrations are fresh and well-meaning, but her evident sexualisation of pubescent girls is troubling to the modern eye. The book was issued in handsome silver, green and turquoise lithographed wrappers. Small folio (290 × 220 mm), 8 lithographed plates by Lydis, the first partially hand coloured in crayon and signed in pencil. Some spotting, mainly marginal, though slightly heavier on prelims. Uncut in original green and silver wrappers. Slightly rubbed and soiled with minor creasing, but a very good copy.

Bestandsnummer des Verkäufers 7916

First edition with Renefer's illustrations of an evocative Montparnasse-set novel first published in 1923. Number 2 of 15 copies with the suite of all 29 wood engravings on chine, all signed by the artist. Fayard's Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper. 4to (230 × 175 mm), pp. 125, [3]. 29 illustrations, plus a suite of the 29 original numbered wood engravings on chine, all signed by the artist. Some foxing to extreme margins in text. Original yellow decorative wrappers and wrappers to the suite preserved, in contemporary marbled boards with orange morocco geometric onlays (minor wear).

Bestandsnummer des Verkäufers 7249

First edition with Jeanniot's illustrations, number 2 of 15 copies with the suite of original woodcuts on chine.Fayard's Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper. 4to (230 × 175 mm), pp. 125, [3]. Forty illustrations, plus a suite of 20 original numbered woodcuts on chine, initialled (the first signed) by the artist. Some foxing to text. Original yellow decorative wrappers and wrappers to the suite preserved, in contemporary marbled boards with orange morocco geometric onlays.

Bestandsnummer des Verkäufers 7329

First edition number 2 of 15 copies only with the woodcuts on chine, numbered and signed by the artist. Fayard's Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper. 4to (230 × 175 mm), pp. 126, [2]. 28 illustrations, plus a suite of 28 original numbered woodcuts on chine, initialled by the artist. Some foxing to extreme margins in text. Original yellow decorative wrappers and wrappers to the suite preserved, in contemporary marbled boards with orange morocco geometric onlays.

Bestandsnummer des Verkäufers 7320