Art Deco

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George Barbier, Rendez-vous Villa Gori. Robe et manteau de Charles Frederick Worth (Robe and Coat of Charles Frederick Worth), detail, La Gazette du Bon Ton, 1924.

Pierre Brissaud (1884-1964), Rentrons (Let's go Home!), Robe de Plage, de Gustave Beer (Dress for the beach, by Gustave Beer), A breezy, postwar day where stripes are worn, La Gazette du Bon Ton, May 1920.

Madeleine Rueg, Allons au jardin. Robe d'après-midi, de Madeleine Vionnet (Let's go to the garden. Afternoon dress, by Madeleine Vionnet), detail, La Gazette du Bon ton, 1925.

For sale: Edition Originale

Madame d’Ora (Dora Kallmus), Entertainer Josephine Baker, 1928.

Museum für Kunst und Gewerbe Hamburg. "I have walked into the palaces of kings and queens and into the houses of presidents. And much more. But I could not walk into a hotel in America and get a cup of coffee, and that made me mad. And when I get mad, you know that I open my big mouth. And then look out, 'cause when Josephine opens her mouth, they hear it all over the world ..." – Josephine Baker

Madame d'Ora (Dora Kallmus), Actress and dancer Elsie Altmann-Loos, 1922. Photostudio Setzer-Tschiedel, Vienna.

British Vogue

Armand Vallée, A Quoi Pensent Les Jeunes Filles (What Do Young Girls Think), La Vie Parisienne, April 19, 1924.

George Barbier, L'Eau (Water) for Falbalas & Fanfreluches Almanach des Modes Prsentes Passes et Futures. 1924.

Hand-coloured, plate-signed pochoir from Falbalas & Fanfreluches: "Water", part of the "Four Elements" quatrain from Barbier's 1924 Almanac. "How far we have come" could be an apt subtitle with the revealing new bathing suits (or lack thereof), not to mention the streamlined turban, shown here midway in its evolution from Poiret's elaborate 1910-12 confection to the iconic flapper headband. The background reflection, so very stylized Art Nouveau in line, is a subtle reminder of the vast societal changes which transformed into the new permissive era over the span of a mere 20 years or so (reaching back to when the turn-of-the-century bathing costume was of serviceable and stout wool jersey, right down to the full-stockinged knees). This famous illustrated almanac series was produced from 1922 to 1926 only and depicted high-society life in Paris - the fashion, social and artistic capital of the early inter-war years. Each issue contained a small diary and notation section, an introduction by one of the leading social/cultural doyens of the day, a decorative cover and twelve fashion plates (one for each month of the year). (x)

George Barbier, La Gourmandise (The Greedy). 1924

Hand-coloured, plate-signed pochoir from Falbalas & Fanfreluches: "The Gourmand/Gluttony" (The Greedy), part of the set "The Seven Deadly Sins " from the Almanac of 1925. One can nearly breathe in the heightened elegance not just through the elevated ceilings but in the exquisite dresses of the women waiting to be pampered beyond expectation with the best of French Cuisine. As is Barbier's inimitable style, the men are mere props to the confident curves of the New Woman, and from their take-charge poses we connect with the very tenor of their emerging social dominance and confidence. This famous series of illustrated almanacs was produced from 1922 to 1926 only and depicted high-society life in the fashion, social and artistic capital of the early inter-war years in Paris. Each issue contained a small diary and notation section, an introduction by one of the leading social/cultural doyens of the day, a decorative cover and twelve fashion plates (one for each month of the year). (x)

George Barbier, El juicio de Paris (The Judgement of Paris). 1923.