L'Exposition de Paris (1900) publiée avec la collaboration d'écrivains spéciaux et des meilleurs artistes. Paris: Montgredien, 1900. 3 volumes, 2 o. Lithographic titles, numerous illustrations in text, some double-page or folding, some colored. Original gilt and black decorated cloth (some rubbing to spine ends and corners). FIRST EDITION originally issued in weekly (later semi-weekly) numbers. The 1900 Exposition was the largest of the 5 Parisian fairs. "Art Nouveau enjoyed a special prominence at the exposition, notably in the decorative arts and the architecture of smaller buildings. Examples of this fin-de-siécle style, with its emphasis on the long and sinuous line and its celebration of the fanciful, the bizarre, and the exotic, may be found in the grand staircase of the Grand Palais, the iron gates of the Petit Palais, the Métro stations of Hector Guimard the Pavillon Bleu, and the dance pavilion designed for the American, Loïe Fuller, by Henri Sauvage and Pierre Roche Art Nouveau rooms, featured in the German and Austrian exhibits, filled the pavilions of the art dealer Samuel Bing and the Union Centrale des Arts Décoratifs; a room from the latter, designed by Georges Hoentschel and containing jewelry by René Lalique and glassware by Emile Gallé survives in the Musée des Arts Décoratifs in Paris" (Brown). (3)
L'Exposition de Paris (1900) publiée avec la collaboration d'écrivains spéciaux et des meilleurs artistes. Paris: Montgredien, 1900. 3 volumes, 2 o. Lithographic titles, numerous illustrations in text, some double-page or folding, some colored. Original gilt and black decorated cloth (some rubbing to spine ends and corners). FIRST EDITION originally issued in weekly (later semi-weekly) numbers. The 1900 Exposition was the largest of the 5 Parisian fairs. "Art Nouveau enjoyed a special prominence at the exposition, notably in the decorative arts and the architecture of smaller buildings. Examples of this fin-de-siécle style, with its emphasis on the long and sinuous line and its celebration of the fanciful, the bizarre, and the exotic, may be found in the grand staircase of the Grand Palais, the iron gates of the Petit Palais, the Métro stations of Hector Guimard the Pavillon Bleu, and the dance pavilion designed for the American, Loïe Fuller, by Henri Sauvage and Pierre Roche Art Nouveau rooms, featured in the German and Austrian exhibits, filled the pavilions of the art dealer Samuel Bing and the Union Centrale des Arts Décoratifs; a room from the latter, designed by Georges Hoentschel and containing jewelry by René Lalique and glassware by Emile Gallé survives in the Musée des Arts Décoratifs in Paris" (Brown). (3)
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