Lecture 2: George Barbier

2.1. Charles Martin, portrait of George Barbier, in Barbier's Vingt-cinq costumes pour le théâtre, with introduction by Edmond Jaloux (Paris: Camille Bloch, 1927), frontispiece. Reproduced from the original in The Metropolitan Museum of Art, Thomas J. Watson Library.

2.2. George Barbier, "Les alliés à Versailles" (1920), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 1. Reproduced from Charles Rahn Fry's copy, now in the Charles Rahn Fry Pochoir Collection, Princeton University Library.

2.3. George Barbier, "Minuit! . . ou l'appartement à la mode" (1920), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 7. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.4. George Barbier, "Chez la marchande des pavots" (1920), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 8. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.5. George Barbier, "Le goût des laques" (1920), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 9. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.6. George Barbier, "Au lido" (1924), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 14. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.7. George Barbier, "Au revoir" (1924), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 16. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.8. George Barbier, vignette depicting a figure riding a bird, in his Falbalas et fanfreluches: almanach des modes présentes, passées et futures, 2 (Paris: Jules Meynial, 1923), title page. Reproduced from Charles Rahn Fry's copy, now in the Charles Rahn Fry Pochoir Collection, Princeton University Library.

2.9. George Barbier, vignette depicting a woman on a sofa, in his Falbalas et fanfreluches: almanach des modes présentes, passées et futures, 4 (Paris: Jules Meynial, 1925), title page. Reproduced from Charles Rahn Fry's copy, now in the Charles Rahn Fry Pochoir Collection, Princeton University Library.

2.10. George Barbier, "Gentils propos," in his Falbalas et fanfreluches: almanach des modes présentes, passées et futures, 1 (Paris: Jules Meynial, 1922). Reproduced from Charles Rahn Fry's copy, now in the Charles Rahn Fry Pochoir Collection, Princeton University Library.

2.11. George Barbier, "Le soir," in his Falbalas et fanfreluches: almanach des modes présentes, passées et futures, 5 (Paris: Jules Meynial, 1926). Reproduced from Charles Rahn Fry's copy, now in the Charles Rahn Fry Pochoir Collection, Princeton University Library.

2.12. George Barbier, "La gourmandise," in his Falbalas et fanfreluches: almanach des modes présentes, passées et futures, 4 (Paris: Jules Meynial, 1925).

2.13. George Barbier, "Les trois beautés de Mnasidika," engraved by Françuois Louis Schmied, in Pierre Louÿs, Les chansons de Bilitis (Paris: Pierre Corrard, 1922), opposite p. 72. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.14. George Barbier, plate depicting the dance of the flowers, engraved by François Louis Schmied, in Pierre Louÿs, Les chansons de Bilitis (Paris: Pierre Corrard, 1922), opposite p. 148. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.15. George Barbier, original drawing of the dance of the flowers (1914), for Pierre Louÿs, Les chansons de Bilitis (Paris: Pierre Corrard, 1922). Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.16. George Barbier, plate depicting two figures and a dog, engraved by François Louis Schmied and printed by Pierre Bouchet, in Albert Flament, Personnages de comédie (Paris: Jules Meynial, 1922). Reproduced from the original in The Metropolitan Museum of Art, Elisha Whittelsey Collection, Department of Drawings and Prints.

2.17. George Barbier, plate depicting a Greek sorceress, engraved by François Louis Schmied and printed by Pierre Bouchet, in Albert Flament, Personnages de comédie (Paris: Jules Meynial, 1922). Reproduced from the original in The Metropolitan Museum of Art, Elisha Whittelsey Collection, Department of Drawings and Prints.

2.18. George Barbier, plate depicting Don Juan, in his Vingt-cinq costumes pour le théâtre, with introduction by Edmond Jaloux (Paris: Camille Bloch, 1927), plate 2. Reproduced from the original in The Metropolitan Museum of Art, Thomas J. Watson Library.

2.19. George Barbier, plate depicting Paulette Duval, in his Vingt-cinq costumes pour le théâtre, with introduction by Edmond Jaloux (Paris: Camille Bloch, 1927), plate 9. Reproduced from the original in The Metropolitan Museum of Art, Thomas J. Watson Library.

2.20. George Barbier, vignette depicting a centaur and a bacchant, engraved on wood by Pierre Bouchet and combined with typography by François Louis Schmied, in Maurice de Guérin, Poèmes en prose (Paris: Auguste Blaizot, 1928), p. v. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.21. George Barbier, plate for "Clair de lune," in Paul Verlaine, Fêtes galantes (Paris: H. Piazza, 1928), opposite p. 3. Houghton Library, Harvard University. Reproduced by permission from Typ 915.28.8680 F, Department of Printing and Graphic Arts, Houghton Library, Harvard College Library.

2.22. George Barbier, plate for "Les ingénus," in Paul Verlaine, Fêtes galantes (Paris: H. Piazza, 1928), opposite p. 27. Houghton Library, Harvard University. Reproduced by permission from Typ 915.28.8680 F, Department of Printing and Graphic Arts, Houghton Library, Harvard College Library.

2.23. George Barbier, plate depicting the muse of history, engraved on wood by Pierre Bouchet, in Marcel Schwob, Vies imaginaires (Paris: Le Livre Contemporain, 1929), frontispiece. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.24. George Barbier, plate depicting Clodia accompanying her brother, engraved on wood by Pierre Bouchet, in Marcel Schwob, Vies imaginaires (Paris: Le Livre Contemporain, 1929), p. 44. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.25. George Barbier, plate depicting Pocahontas meeting John Smith, engraved on wood by Pierre Bouchet, in Marcel Schwob, Vies imaginaires (Paris: Le Livre Contemporain, 1929), p. 126. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.

2.26. George Barbier, tailpiece vignette depicting a cook (on verso page of opening) and headpiece vignette for chapter 4 depicting a lizard in the woods (on recto page of opening), colored by Jean Saudé, in René Boylesve, Le carrosse aux deux lézards verts (Paris: Éditions de La Guirlande, 1921). Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.

2.27. George Barbier, plate depicting Egyptian entertainments (on verso page of opening) and vignette of stylized flower (on recto page of opening), engraved by E. Gasperini and printed by Robert Coulouma, in Théophile Gautier, Le roman de la momie (Paris: A. & G. Mornay, 1929), frontispiece and title page. Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.

2.28. George Barbier, original drawing of a mermaid for the frontispiece to volume 2 of Choderlos de Laclos, Les liaisons dangereuses (Paris: Le Vasseur, 1934). Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.

2.29. George Barbier, plate depicting a mermaid, as published in volume 2 of Choderlos de Laclos, Les liaisons dangereuses (Paris: Le Vasseur, 1934), frontispiece. Gordon N. Ray Collection, Pierpont Morgan Library.

2.30. George Barbier, plate depicting the Marquise de Merteuil's visit to Cécile Volanges's bedchamber, in Choderlos de Laclos, Les liaisons dangereuses (Paris: Le Vasseur, 1934), 1: 136. Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.

2.31. Edy Legrand, vignettes depicting Jacques Cartier relating his discoveries to Francis I, in Voyages et glorieuses découvertes des grands navigateurs et explorateurs français (Paris: Tolmer, 1921). Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.

2.32. Pierre Falké, plate depicting Robinson Crusoe (on verso page of opening) and border depicting island life (on recto page), in Daniel Defoe, La vie et les aventures étranges et surprenantes de Robinson Crusoé de York, marin, translated by Pétrus Borel and with a preface by Pierre Mac Orlan (Paris: Henri Jonquières, 1926), 1: frontispiece and title page. Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.

2.33. André Édouard Marty, plate depicting the Crucifixion, in Pierre Louÿs, Aphrodite (Paris: Creuzevault, 1936), p. 230.

	2.1. Charles Martin, portrait of George Barbier, in Barbier's Vingt-cinq costumes pour le théâtre, with introduction by Edmond Jaloux (Paris: Camille Bloch, 1927), frontispiece. Reproduced from the original in The Metropolitan Museum of Art, Thomas J. Watson Library.
	2.2. George Barbier, "Les alliés à Versailles" (1920), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 1. Reproduced from Charles Rahn Fry's copy, now in the Charles Rahn Fry Pochoir Collection, Princeton University Library.
	2.3. George Barbier, "Minuit! . . ou l'appartement à la mode" (1920), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 7. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.4. George Barbier, "Chez la marchande des pavots" (1920), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 8. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.5. George Barbier, "Le goût des laques" (1920), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 9. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.6. George Barbier, "Au lido" (1924), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 14. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.7. George Barbier, "Au revoir" (1924), engraved by H. Reidel, in Barbier's Le bonheur du jour, ou les grâces à la mode (Paris: Jules Meynial, [1920-24]), plate 16. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.8. George Barbier, vignette depicting a figure riding a bird, in his Falbalas et fanfreluches: almanach des modes présentes, passées et futures, 2 (Paris: Jules Meynial, 1923), title page. Reproduced from Charles Rahn Fry's copy, now in the Charles Rahn Fry Pochoir Collection, Princeton University Library.
	2.9. George Barbier, vignette depicting a woman on a sofa, in his Falbalas et fanfreluches: almanach des modes présentes, passées et futures, 4 (Paris: Jules Meynial, 1925), title page. Reproduced from Charles Rahn Fry's copy, now in the Charles Rahn Fry Pochoir Collection, Princeton University Library.
	2.10. George Barbier, "Gentils propos," in his Falbalas et fanfreluches: almanach des modes présentes, passées et futures, 1 (Paris: Jules Meynial, 1922). Reproduced from Charles Rahn Fry's copy, now in the Charles Rahn Fry Pochoir Collection, Princeton University Library.
	2.11. George Barbier, "Le soir," in his Falbalas et fanfreluches: almanach des modes présentes, passées et futures, 5 (Paris: Jules Meynial, 1926). Reproduced from Charles Rahn Fry's copy, now in the Charles Rahn Fry Pochoir Collection, Princeton University Library.
	2.12. George Barbier, "La gourmandise," in his Falbalas et fanfreluches: almanach des modes présentes, passées et futures, 4 (Paris: Jules Meynial, 1925).
	2.13. George Barbier, "Les trois beautés de Mnasidika," engraved by Françuois Louis Schmied, in Pierre Louÿs, Les chansons de Bilitis (Paris: Pierre Corrard, 1922), opposite p. 72. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.14. George Barbier, plate depicting the dance of the flowers, engraved by François Louis Schmied, in Pierre Louÿs, Les chansons de Bilitis (Paris: Pierre Corrard, 1922), opposite p. 148. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.15. George Barbier, original drawing of the dance of the flowers (1914), for Pierre Louÿs, Les chansons de Bilitis (Paris: Pierre Corrard, 1922). Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.16. George Barbier, plate depicting two figures and a dog, engraved by François Louis Schmied and printed by Pierre Bouchet, in Albert Flament, Personnages de comédie (Paris: Jules Meynial, 1922). Reproduced from the original in The Metropolitan Museum of Art, Elisha Whittelsey Collection, Department of Drawings and Prints.
	2.17. George Barbier, plate depicting a Greek sorceress, engraved by François Louis Schmied and printed by Pierre Bouchet, in Albert Flament, Personnages de comédie (Paris: Jules Meynial, 1922). Reproduced from the original in The Metropolitan Museum of Art, Elisha Whittelsey Collection, Department of Drawings and Prints.
	2.18. George Barbier, plate depicting Don Juan, in his Vingt-cinq costumes pour le théâtre, with introduction by Edmond Jaloux (Paris: Camille Bloch, 1927), plate 2. Reproduced from the original in The Metropolitan Museum of Art, Thomas J. Watson Library.
	2.19. George Barbier, plate depicting Paulette Duval, in his Vingt-cinq costumes pour le théâtre, with introduction by Edmond Jaloux (Paris: Camille Bloch, 1927), plate 9. Reproduced from the original in The Metropolitan Museum of Art, Thomas J. Watson Library.
	2.20. George Barbier, vignette depicting a centaur and a bacchant, engraved on wood by Pierre Bouchet and combined with typography by François Louis Schmied, in Maurice de Guérin, Poèmes en prose (Paris: Auguste Blaizot, 1928), p. v. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.21. George Barbier, plate for "Clair de lune," in Paul Verlaine, Fêtes galantes (Paris: H. Piazza, 1928), opposite p. 3. Houghton Library, Harvard University. Reproduced by permission from Typ 915.28.8680 F, Department of Printing and Graphic Arts, Houghton Library, Harvard College Library.
	2.22. George Barbier, plate for "Les ingénus," in Paul Verlaine, Fêtes galantes (Paris: H. Piazza, 1928), opposite p. 27. Houghton Library, Harvard University. Reproduced by permission from Typ 915.28.8680 F, Department of Printing and Graphic Arts, Houghton Library, Harvard College Library.
	2.23. George Barbier, plate depicting the muse of history, engraved on wood by Pierre Bouchet, in Marcel Schwob, Vies imaginaires (Paris: Le Livre Contemporain, 1929), frontispiece. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.24. George Barbier, plate depicting Clodia accompanying her brother, engraved on wood by Pierre Bouchet, in Marcel Schwob, Vies imaginaires (Paris: Le Livre Contemporain, 1929), p. 44. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.25. George Barbier, plate depicting Pocahontas meeting John Smith, engraved on wood by Pierre Bouchet, in Marcel Schwob, Vies imaginaires (Paris: Le Livre Contemporain, 1929), p. 126. Reproduced from the original in the Beinecke Rare Book and Manuscript Library, Yale University.
	2.26. George Barbier, tailpiece vignette depicting a cook (on verso page of opening) and headpiece vignette for chapter 4 depicting a lizard in the woods (on recto page of opening), colored by Jean Saudé, in René Boylesve, Le carrosse aux deux lézards verts (Paris: Éditions de La Guirlande, 1921). Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.
	2.27. George Barbier, plate depicting Egyptian entertainments (on verso page of opening) and vignette of stylized flower (on recto page of opening), engraved by E. Gasperini and printed by Robert Coulouma, in Théophile Gautier, Le roman de la momie (Paris: A. & G. Mornay, 1929), frontispiece and title page. Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.
	2.28. George Barbier, original drawing of a mermaid for the frontispiece to volume 2 of Choderlos de Laclos, Les liaisons dangereuses (Paris: Le Vasseur, 1934). Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.
	2.29. George Barbier, plate depicting a mermaid, as published in volume 2 of Choderlos de Laclos, Les liaisons dangereuses (Paris: Le Vasseur, 1934), frontispiece. Gordon N. Ray Collection, Pierpont Morgan Library.
	2.30. George Barbier, plate depicting the Marquise de Merteuil's visit to Cécile Volanges's bedchamber, in Choderlos de Laclos, Les liaisons dangereuses (Paris: Le Vasseur, 1934), 1: 136. Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.
	2.31. Edy Legrand, vignettes depicting Jacques Cartier relating his discoveries to Francis I, in Voyages et glorieuses découvertes des grands navigateurs et explorateurs français (Paris: Tolmer, 1921). Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.
	2.32. Pierre Falké, plate depicting Robinson Crusoe (on verso page of opening) and border depicting island life (on recto page), in Daniel Defoe, La vie et les aventures étranges et surprenantes de Robinson Crusoé de York, marin, translated by Pétrus Borel and with a preface by Pierre Mac Orlan (Paris: Henri Jonquières, 1926), 1: frontispiece and title page. Reproduced by permission of The Pierpont Morgan Library, New York, Bequest of Gordon N. Ray, 1987.
	2.33. André Édouard Marty, plate depicting the Crucifixion, in Pierre Louÿs, Aphrodite (Paris: Creuzevault, 1936), p. 230.