![LÉGER, Fernand, illustrator (1881-1955). – RIMBAUD, Arthur (1854-1891). Les Illuminations. Lausanne: Grosclaude, [1949].](https://www.christies.com/img/LotImages/2016/NYR/2016_NYR_12260_0115_000(leger_fernand_illustrator_rimbaud_arthur_les_illuminations_lausanne_gr103902).jpg?w=1)
PROPERTY FROM A PRIVATE COLLECTION
LÉGER, Fernand, illustrator (1881-1955). – RIMBAUD, Arthur (1854-1891). Les Illuminations. Lausanne: Grosclaude, [1949].
Details
LÉGER, Fernand, illustrator (1881-1955). – RIMBAUD, Arthur (1854-1891). Les Illuminations. Lausanne: Grosclaude, [1949].
2° (327 x 248 mm). 15 lithographs, 13 with pochoir coloring, Saphire 32 with a variant coloring. Modern morocco, original wraps bound in (some light wear to spine); marbled slipcase.
LIMITED EDITION, number 120 of 275 copies SIGNED BY LÉGER AND THE EDITOR LOUIS GROSCLAUDE on Papier Vélin Teinté from a total edition of 395. "Léger went even further with Les Illuminations than the final version indicates, designing a lively cover that was not used and at least two other illustrations. The omission of Léger’s cover, a hallmark of his books since the very beginning, put Les Illuminations into a conventional mold. The reason was that the editor was aiming at an audience of bibliophiles, and the classic typography, also at variance with Léger’s normal bent, reflected this aim as well. But these conditions do not diminish the effect of Léger’s fifteen illustrations” (Saphire). Saphire 24-38.
2° (327 x 248 mm). 15 lithographs, 13 with pochoir coloring, Saphire 32 with a variant coloring. Modern morocco, original wraps bound in (some light wear to spine); marbled slipcase.
LIMITED EDITION, number 120 of 275 copies SIGNED BY LÉGER AND THE EDITOR LOUIS GROSCLAUDE on Papier Vélin Teinté from a total edition of 395. "Léger went even further with Les Illuminations than the final version indicates, designing a lively cover that was not used and at least two other illustrations. The omission of Léger’s cover, a hallmark of his books since the very beginning, put Les Illuminations into a conventional mold. The reason was that the editor was aiming at an audience of bibliophiles, and the classic typography, also at variance with Léger’s normal bent, reflected this aim as well. But these conditions do not diminish the effect of Léger’s fifteen illustrations” (Saphire). Saphire 24-38.
Brought to you by
Tom Lecky