Louis Icart — The Syndicate Prevails: Ladies of the Court. Original Print 1936
$ 48.05
Description
Louis Icart — The Syndicate Prevails: Ladies of the Court. Original Print 1936. 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) "Les damoyselles formerent syndicate, monstrerent leurs fondements et passerent procuration à defendre leur cause."--- "The young ladies formed a syndicate, showed their bottoms, and gave power of attorney to defend their cause"--Rabelais Rabelais invented labor organizing and Icart illustrated the grievance procedure. A black-robed official has achieved unexpected altitude, screaming, in what appears to be a courtroom. Below, two women sit with the composure of parties who have presented their case and are awaiting the inevitable outcome. The gallery observes. A skull presides. The women's syndicate appears to have prevailed. 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.
