Louis Icart — Panurge's Revenge: The Lady and the Dogs. Original Print 1936.
$ 46.2
Description
Louis Icart — Panurge's Revenge: The Lady and the Dogs. Original Print 1936.. This was Panurge's revenge. Apparently, Rabelais considered this proportionate. Original color heliogravure (photogravure), Printer: Draeger Frères, Paris. Le Vasseur's 1936 edition is the definitive illustrated Rabelais of the Art Deco period — a luxury bibliophile production printed by Draeger Frères in color heliogravure using multiple etched copper plates. Louis Icart — Original Color Heliogravure, Gargantua et Pantagruel (Le Vasseur Edition, 1936) A fashionably dressed woman in burgundy brocade and white stockings stands at the center of a crowd of dogs — every breed, every size — attending to her with unanimous and focused enthusiasm. Her expression suggests she is aware this is happening. The dogs are not discouraged. "Tous les chiens accoururent à ceste dame...et la sentens, et pissans pour tout sur elle." All the dogs ran to this lady, sniffing her, and ahem, did their business on her feet from every direction.--Rabelais This was Panurge's revenge. Apparently, Rabelais considered this proportionate. I will note that Icart knew and drew dogs quite well--the crowd of dogs is genuinely well-drawn, each breed distinct. Artist: Louis Icart (1888–1950) Medium: Multiple etched copper plates. Original color heliogravure (photogravure), Printer: Draeger Frères, Paris Publisher: Le Vasseur et Cie, ParisYear: 1936 Paper: Vélin d'Arches Plate mark (cuvette) is visible and lovely, the visble physical artifact of an intaglio copper plate pressed into heavy paper. Sheet size: approximately 9.5 × 7.25 inches, full margins as issued From # 446 of 900 Limited Edition Sets. Photos of the colophon and "Justification du Tirage" are for informational purpose only and are not part of the sale. Le Vasseur's 1936 edition is the definitive illustrated Rabelais of the Art Deco period — a luxury bibliophile production printed by Draeger Frères in color heliogravure using multiple etched copper plates. Louis Icart built his reputation on elegant, sensual depictions of Parisian women — polished, fashionable, and largely decorative. The 1936 Rabelais commission placed him in entirely different territory: broad physical humor and the full carnival spirit of a text that has been transgressing decorum since 1532. The result is unmistakably Icart in line and color, but working in a register — grotesque, comic, uninhibited — that his commercial output rarely required of him. Ships flat, protected in rigid mailer with archival sleeve and stiffeners.
