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Eighteenth-Century French Fashion Plates in Full Color: 64 Engravings from the "Galerie des Modes," 1778-1787

Eighteenth-Century French Fashion Plates in Full Color: 64 Engravings from the "Galerie des Modes," 1778-1787

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Eighteenth-Century French Fashion Plates in Full Color: 64 Engravings from the "Galerie des Modes," 1778-1787

valutazioni:
4/5 (5 valutazioni)
Lunghezza:
128 pagine
29 minuti
Pubblicato:
Sep 21, 2016
ISBN:
9780486163246
Formato:
Libro

Descrizione

The Galerie des Modes has been called the "most beautiful collection in existence on the fashions of the 18th century." Published over a 10-year period, its plates were elegantly drawn, accurately engraved, and exquisitely hand colored. Here are 64 of the finest plates, reproduced faithfully from the originals and selected by costume historian Stella Blum.
Pubblicato:
Sep 21, 2016
ISBN:
9780486163246
Formato:
Libro

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Anteprima del libro

Eighteenth-Century French Fashion Plates in Full Color - Stella Blum

Copyright

Copyright © 1982 by Dover Publications, Inc.

All rights reserved.

Bibliographical Note

Eighteenth-Century French Fashion Plates: 64 Engravings from the Galerie des Modes, 1778–1787 is a new work, first published by Dover Publications, Inc., in 1982 and reissued in 2016. For a description of the original Galerie des Modes, see the Bibliographical Note on page v.

The publisher is grateful to the Costume Institute of The Metropolitan Museum of Art for making material in its library available for direct photographing.

Library of Congress Cataloging-in-Publication Data

Main entry under title:

Eighteenth-century French fashion plates in full color.

Bibliography: p.

1. Costume—France—History—18th century. 2. Fashion—France—History—18th century. I. Blum, Stella. II. Galerie des modes.

GT860.E34 391’00944 82-1427

ISBN-13: 978-0-486-24331-3

ISBN-10: 0-486-24331-1    AACR2

Manufactured in the United States by RR Donnelley

24331107 2016

www.doverpublications.com

Bibliographical Note

Introduction

List of Plates

glossary

Plates

Bibliographical Note

René Colas, compiler of the major reference work Bibliographie générale du costume et de la mode (1933; reprinted by Hacker, N. Y., 1969), calls the Galerie des Modes the most beautiful collection in existence on the fashions of the eighteenth century. Vyvyan Holland, in his monograph Hand Coloured Fashion Plates 1770 to 1899 (Batsford, London, 1955), describes the Galerie as a connecting link between the older costume plate—an informational depiction of the clothing worn by certain groups of people—and the newer fashion plate—up-to-the-minute reportage of clothing styles at least partially intended to influence purchasers.

The creation of two men both born in 1739, Jacques Esnauts (or Esnault) and Michel Rapilly, the Galerie (Gallerie in the eighteenth-century spelling) was published erratically in more than 70 portfolios, usually of six engravings each, over the ten-year period 1778–1787. Because of the extreme rarity of the original plates—there is apparently no complete run in any public or private collection—many bibliographical questions are extremely vexed, authorities differing on the total number of plates issued, the number of volumes into which they were collected (probably not all were so collected), the sequence of the plates and the portfolios, and so on (those interested in these details should see Colas’s book, pp. 418–438, which the present volume has taken as its guide). It is clear at any rate that over 400 plates were eventually issued during the course of publication.

Jacques,/à la Ville de Coutances./Avec Priv. du Roi" (Gallery of French fashions and costumes, drawn from life, engraved by the most celebrated artists in this medium, and hand-colored with the greatest care by Madame Le Beau; publication begun in 1778. Paris, Messrs. Esnauts and Rapilly, rue Saint-Jacques, at the sign of the City of Coutances. Licensed by the King).

Among the artists who drew the costumes—either as supplied to them by such dressmakers as the P.-N. Sarrazin mentioned in several of the captions, or as observed by them in everyday use in fashionable homes and gathering places—were: Claude-Louis Desrais, Pierre-Thomas Leclère (or Leclerc, born 1740), François-Louis-Joseph Watteau (1758–1813), grandnephew of the great Antoine Watteau) and Augustin de Saint-Aubin (1736–1807). The draftsman’s name appears at the left beneath the

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