Paris, Meynial, 1922
With a manuscript dedication poem by Flament. A fine copy of this important collaboration between Barbier and Schmied, from the edition limited to 150 copies, signed by Barbier in pencil.
One of the most important works by Barbier, rivalled only by his Le bonheur du jour. Albert Flament's text of 1914 is a diffuse meditation, half-waking and half-dreaming, which takes as its point of departure the great roles of world theatre. Barbier's vignettes have a general relevance to the theme of acting, but most of his plates, at least one of which dates from 1916, are simply magnificent decorative compositions.
George Barbier (1882-1932), was the supreme decorative designer of art deco, whose art centred on the human figure, displayed in a thousand different settings and costumes. He had the faculty, as Valéry wrote, of embodying myth through images in such a way that workers in mere words could only look on in awe.
Limited edition, one of 150 copies on Vélin de cuve de Hollande (this numbered 24), signed by Barbier; 4to (37 x 29 cm); manuscript dedication poem by Albert Flament, 12 full-page and 2 half-page colour woodcut engravings by Schmied after Barbier, text by Albert Flament with decorative devices, borders, initials and tail-pieces, gilt detail; illustrated wrapper with marble background, modern dark morocco blue with large gilt pictorial block to upper cover.
Ritchie 11; Carteret IV: 157. Paris: Meynia.
One of the most important works by Barbier, rivalled only by his Le bonheur du jour. Albert Flament's text of 1914 is a diffuse meditation, half-waking and half-dreaming, which takes as its point of departure the great roles of world theatre. Barbier's vignettes have a general relevance to the theme of acting, but most of his plates, at least one of which dates from 1916, are simply magnificent decorative compositions.
George Barbier (1882-1932), was the supreme decorative designer of art deco, whose art centred on the human figure, displayed in a thousand different settings and costumes. He had the faculty, as Valéry wrote, of embodying myth through images in such a way that workers in mere words could only look on in awe.
Limited edition, one of 150 copies on Vélin de cuve de Hollande (this numbered 24), signed by Barbier; 4to (37 x 29 cm); manuscript dedication poem by Albert Flament, 12 full-page and 2 half-page colour woodcut engravings by Schmied after Barbier, text by Albert Flament with decorative devices, borders, initials and tail-pieces, gilt detail; illustrated wrapper with marble background, modern dark morocco blue with large gilt pictorial block to upper cover.
Ritchie 11; Carteret IV: 157. Paris: Meynia.
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