A D V E N T U R E S in C Y B E R S O U N DHenri Riviere : Le Chat Noir and 'Shadow theatre'
The Spirit of Montmartre : Cabarets, Humor and the Avant-Garde, 1875-1905* Edited by Bruce Sterling for the Dead Media Project
It is rare for us in the Dead Media Project to quote so extensively from a single work, but it is impossible not to admire Phillip Dennis Cate's magisterial treatment of the Chat Noir cabaret's "shadow theater." This is dead media scholarship at its finest! We have a provocative media thesis, which proposes an alternative geneology for cinema: not in cameras and persistence-of-vision optical toys, but in French black and white silhouette illustration. This impulse moves through drawings, to photomechanical printing, through puppet theater, and, finally, into a now-forgotten gigantic 20-man media gizmo in the most notorious dive of Bohemian Paris--the Chat Noir "theater of shadows" of Henri Rivière (1864-1951). Cate's article offers names, dates, shadow-theater plot summaries, and enough technical detail so that a determined hobbyist could probably re-create Rivière's shadow-theater out of klieg lights, curtain runners and tin cans. What we in Dead Media do not have in this series of quotes from Cate are the many compelling illustrations in this book, which emerge straight from the heart and gizzard of Lautrecian fin-de-siecle French poster art. The art in this book is stunningly effective. As a substantial bonus, one can learn the personnel, histories, and countercultural intrigues of a panoply of Bohemian avant-garde cults, including the Hydropaths, the Incoherents, the Bon Bockers, the Fumistes, the Hirsutes, the Zutistes, the Decadents, and others even less probable. Dead media just doesn't get much better than The Spirit of Montmartre" Please note that ASCII mutilates the French language, so that Riviere is Riviére, Epopee is Epopée, La Conquete de l'Algerie is La Conquête de l'Algérie, and so forth. The Spirit of Montmartre: Cabarets, Humor and the Avant-Garde, 1875-1905 edited by Phillip Dennis Cate and Mary Shaw, Jane Voorhees Zimmerli Art Museum, Rutgers, The State University, New Brunswick, New Jersey, 1996 LC 95-81835
"In the nineteenth century, guignols, or puppet-theater performances, were popular, domestic forms of family entertainment; one could also regularly encounter groups of small children watching Punch and Judy puppet shows in the public gardens of the Luxembourg and Tuileries.
 The Chat Noir Cabaret, Paris, c.1885-86 Source: http://www.jarecki.ikki.com.pl/kabaret/kabaret.htm
"In the fall of 1885 George Auriol and Henry Somm constructed a small puppet theater in the Chat Noir's third-floor Salle des Fetes.(...) the performances were not for a children's audience. The setting of Somm's one-act Berline de l'émigré is a family-run public toilet. (...) This silly play, with its childish overindulgence in toilet habits and its sequence of 'fumiste' puns, in-jokes, and racial slurs, is echoed sixteen years later in Jarry's second 'Almanach du Pere Ubu.' "The guignol existed a relatively short time at the Chat Noir before it was converted to a shadow theater, another traditional form of family entertainment. After one of the early performances of Berline de l'émigré, Rivière put a white napkin over the opening of Somm's puppet theater; then, after making small cardboard cutouts of policemen (sergents de ville), he placed them behind the white screen, creating silhouettes that he moved across the screen as Jules Jouy sang his popular 'Chanson des Sergots.' This was the birth of the Chat Noir's famous shadow theater." page 55 "It was not by chance that Rivière discovered the shadow theater. The climate was certainly right for investigations into the artistic effects of silhouettes. Thanks to the newly developed photomechanical relief-printing processes, which easily and inexpensively reproduced high-contrast black-and-white drawings (...) artists and writers of the Chat Noir group were collaborating on publications related to Rivière's aesthetic interests. "Less than two months earlier, Paul Eudel, who by coincidence lived directly across the street from the Chat Noir, published his important study on shadow plays entitled Les Ombres Chinoises de mon pere (((My Father's Shadow Theater, Paris, Editions Rouveyre, 1885))). Cohl and Ferdinandus, Chat Noir regulars and Incoherents, created many of the silhouette illustrations for the book. Rivière was obviously aware of Eudel's publication just as he was surely aware of Henri de Sta's humorous books, such as La Chanson du Colonel (((La Chanson du Colonel, operette pare Albert Millaud et Hennequin, Paris, Leon Vanier, 1882))) which were illustrated by de Sta entirely with silhouette images. "In addition, Georges Lorin's Paris Rose of 1884 (((Paris Rose, Paris, Paul Ollendorf, 1884))) innovatively incorporates silhouette images within the text to suggest movement from one page to the next. Lorin's dynamic placement of silhouettes, in fact, predicts the effect, ten years later, of celluloid frames of a moving picture, as well as the bold black-and-white book illustrations of Vallotton. (((Rassemblements, edited by Octave Uzanne, Paris, Paul Ollendorf, 1884, features thirty illustrations by Vallotton.))) (...) "These publications by his Chat Noir colleagues introduced Rivière to the artistic potential of silhouettes and motivated his investigations into the shadow theater as a modern medium. Most important, the shadow theater was able to merge the two-dimensional aesthetics of the visual arts with characteristics intrinsic to theater: movement and the interaction of music and voice." page 57 "Somm's soon-to-be-famous thirty-second shadow sketch L'Elephant (...) was created almost immediately after the first performance of Berline de l'Émigré. Salis used this short, comic, scatological skit daily until his death in 1897 to introduce the cabaret's shadow-theater performances: "No set; a lighted screen. "A Negro, his hands behind his back, is tugging on a rope. He advances, disappears == the rope stretches horizontally. Then, a knot in the rope. The rope continues to stretch, eternally.... Then, at one end, therea appears an Elephant who drops 'an odoriferous pearl' == in the words of the Gentleman Cabaret Owner == from which a Flower springs up == then: Curtain! "By 9 December 1896, when Jarry performed Ubu Roi at Montmartre's Nouveau Theatre, Somm's L'Elephant had been performed at least four thousand times." page 58 "It was not until 1887 that Rivière replaced Somm and Auriol's puppet theater with a real shadow theater. To do this it was necessary to break through the main wall of the Salle des Fetes and construct a screen and rear staging area. At first the screen measured almost one meter square. Eventually, it was enlarged to 1.12 meters high by 1.40 meters wide with a huge backstage attached to the outside of the building. "Essentially, Rivière created a system in which he placed silhouettes of figures, animals, elements of landscapes, and so forth, within a wooden framework at thre distances from the screen: the closest created an absolutely black silhouette, and the next two created gradations of black to gray, thus suggesting recession into space. Silhouettes could be moved across the screen on runners within the frame. "For instance, perspective was created by a succession of large to small silhouettes placed across the screen. The silhouettes were at first made from cardboard and then, in 1888 with the first full-scale production of Caran d'Ache's Epopée, from zinc. Behind the three tiers of silhouettes were sliding structures supporting glass panels, which could be painted in a variety of transparent colors; and finally, at the rear of the work area was the oxyhydrogen flame, which served as the light source.
 Behind the scenes at the Chat Noir's shadow theatre Source: http://www.aei.ca/~matou/marionnettes/grand/ombres.html
"With the help of backstage assistants who could number as many as twenty, the perfectionist Rivière was able to develop complicated and sophisticated effects of color, sound and movement for the series of over forty eclectic plays that he and his colleagues produced during the eleven years that the shadow theater existed at the Chat Noir. "The Chat Noir closed in February 1897, a month before Salis's death. It left no greater legacy than Rivière's shadow theater, which was the cabaret's biggest public attraction. From the very beginning, Salis was the improvisational narrator, or bonimenteur of each shadow performance. His eccentric, egocentric personality gave the performances added verve and excitement. "In 1887-88, the year after the shadow theater became fully established at the Chat Noir, Auriol published Le Chat Noir - Guide, which, with Incoherent annotations, lists the art on display in this cabaret-museum. With the following contemporary artists represented on the Chat Noir walls, one may assume that Rivière's shadow theater played a crucial role in establishing the credibility of the cabaret with that other tier of the avant-garde, the Impressionists/Post Impressionists: Edgar Degas, Camille Pissarro, Claude Monet, Mary Cassatt, and others. "The three most popular shadow theater productions were L'Epopée (1888) by Caran d'Ache, and Le Temptation de Saint Antoine (1887) and La Marche a L'etoile (1890), both by Henri Rivière. It was Rivière who facilitated the technical requirements of all the plays produced at the Chat Noir. "In some cases the demands were extraordinary, especially when productions such as L'Epopée, La Tentacion, and La Conquete de l'Algerie (1888) by Louis Bombled called for forty to fifty different sets, or if they required subtle effects of color and movement such as Phryne (1891) by Maurice Donnay. "Georges Fragerolle, Albert Tinchant, or Charles de Sivry were most often responsible for the musical scores. The plays were varied in content; Caran d'Ache created a seriocomic monochromatic vision of Napoleon I's military campaigns in L'Epopée, which included dramatic perspective views of the Grand Army. Rivière's Symbolist- religious play La Marche a l'Etoile evoked with minimalist tints of blue the mystical procession of believers to Bethlehem to worship the newborn Christ, and Donnay's Ailleurs was a 'poeme satirique, classique, gaulois, mystic, socialiste et incoherent' (...) "The fumiste character of the Chat Noir was maintained by such plays as Le Gils de l'eunuque (1888) by Somm, L'Age d'or by Willette, Le Secret du Manifestant (1893) by Jacques Femy, and Pierrot Pornographe (1894) by Louis Morin. "The forty scenes of Rivière's La Temptation de Saint Antoine visualize the odyssey of the hermit saint as the Devil presented him with myriad contemporary and ancient, worldly and other-worldly temptations, including present- day Paris represented by Les Halles (the meat market) and La Bourse (the stock market), science, and new technology, the awesome universe, a variety of ancient deities, and the seductress queen of Sheba. Quotations from Flaubert's novel of the same name were recited and accompanied by selections of music by Richard Wagner, Fragerolle, and Albert Tinchant. The play reaches its crescendo with the apotheosis of the saint after he successfully rejects all temptations. "La Temptation de Saint Antoine was the Chat Noir's first major shadow theater production. Its premiere performance on 28 December 1887 took place eighteen months after it was first announced in Le Chat Noir. It must have taken Rivière that long to develop the ability to obtain the great variety and nuance of color as well as the spatial effects that distinguish his adaptation of the traditional shadow theater concept from all those who went before his." page 60 "However, it was also Rivière's sophisticated technology that made the Chat Noir's protocinematic productions ephemeral. While zinc silhouettes and preparatory studies remain today, it is only be means of the printed, color facsimile albums of plays such as La Temptation de Saint Antoine, La Marche a l'Etoile, L'Enfant Prodigue (1894), and several others published at the time, and by means of the decorative programs designed by Auriol and Rivière that we can come close to understanding the content and visual impact of the Chat Noir's shadow plays." page 63 "Over the years, thousands upon thousands of individuals viewed the Chat Noir's shadow theater productions: bohemians, aristocrats, politicians, generals, and members of the bourgeoisie sat side by side in the Salle des Fetes with artists, writers, actors and actresses, scientists, and adventurers. "Beginning in 1888 with the Theatre d'Application on the rue St. Lazare, shadow theaters eventually spread to other locations in Paris as well as to other Montmartre cabarets, Le Conservatoire de Montmartre and Les Quat'z'Arts, in particular. In addition (...) Salis took his shadow theater company on the road to the provinces. In 1893 Somm, Steinlen, and Michel Utrillo traveled to the World's Columbian Exposition in Chicago to present their shadow plays. Thanks to Utrillo, by 1897 Barcelona's avant-garde (...) had its own shadow theater at Ils Quatre Gats, the modernista cabaret that took its name from both Le Chat Noir and Les Quat'z'Arts. During the Paris world's fair of 1900 the journal Le Rire brought Montmartre shadow theater and humor to visitors around the world by installing on the fairgrounds along the Seine the Maison du Rire, which performed a repertoire of Chat Noir shadow plays and cabaret revues." Source: Dead Media Working Note 33.6-33.9
The Chat Noir Cabaret and Journal Billed as "a Louis XIII-style cabaret, founded by a fumiste," the Chat Noir was established in November 1881 by the artist Rodolphe Salis. Salis had met Emile Goudeau earlier that month and convinced the poet to bring the Hydropathes from the Left Bank to Montmartre, and to make the Chat Noir their new home. In January 1882 the cabaret began publishing its own journal, Le Chat Noir. Initially the cabaret was a small, two-room space with an imitation Rabelais-period interior but, within three-and-a-half years, its great popularity enabled the Chat Noir to move two blocks away into a larger and more elaborate home.
 Le Chat Noir, 1896 Théophile-Alexandre Steinlen, 1859-1923 Source: http://www.allaboutart.com/artist/Steinlen.html
This is a fine art lithograph and was produced in 1997. It was inspired by a poster created by Théophile-Alexandre Steinlen in 1896. Pulled on Rives BFK hand-made French paper, one color at a time from separate plates. The image has been sequentially numbered in pencil in the upper left border. The internationally renown French chromist, Jean Pierre Remond, re-created the artist's image in 1997 by hand-drawing directly onto specially prepared surfaces that were transferred onto lithographic plates, one plate for each color. "Chat Noir" was printed on a 19th century French made Marinoni press. The size of the lithograph is 19" x 28-1/4". Great care was taken to precisely re-create the artist's original image. The chromist utilized as the model, the original posters and other historical materials to insure that this re-creation captures the feeling and style, as well as the color and size of the vintage work. The "Chat Noir" was a theater-restaurant and describes the troupe's presentation of plays, poetry, readings and songs. The owner of the Cabaret was an early supporter of Steinlen. The direct stare of the Cat is meant to convey the characteristics of the true Parisian cat as well as the people who frequented the Cabaret, who lived in the Monmartre section of Paris. Steinlen was born in 1859 and is an important figure for the color revolution - not only for developing an audience for color printing in general, but also for producing some of the strongest color lithographic posters and prints of the period. He died in 1941. Source: http://www.art-posters.com/posters/1vintage/chat_noir.html
The cabaret's early success was due partly to the introduction of a piano, made possible by Salis's disregard of a government statute that prohibited music in cabarets. At this critical moment in the history of Parisian entertainment, music and song joined the cabaret's spoken repertoire of poetry and verse.
see also: Erik Satie and Vincent Hyspa: notes on a collaboration
 Interior of the Chat Noir, Paris, c.1885-86 with (from left to right), Narcisse Lebeau, Henri Rivière, George Auriol photograph: Jane Voorhees Zimmerli Art Museum Rutgers The State University of New Jersey, Morse Fund. Source: http://www.nyu.edu/pages/greyart/exhibits/counter/html/body_chatnoir.html
Adolphe Willette, Caran d'Ache, Théophile-Alexandre Steinlen and, to a lesser degree, Henri Rivière and George Auriol, were the principal illustrators of the Le Chat noir during its heyday of the 1880s. With one contribution, "Pierrot fumiste," Willette introduced the journal's first "story without words." Steinlen and d'Ache would use the same system to illustrate, often in childlike scribbles, single pages and double-page spreads of Le Chat noir. The three artists combined this format with infantile but sometimes macabre stories, which seem less the diet of a sophisticated journal than the fodder for childish nightmares and fantasies. Source: Counter Culture: Parisian Cabarets and The Avante-Garde 1875-1905
 Henri Rivière, The Devil and St. Anthony, 1887-90 Zinc cutout for the shadow theater play La Temptation de Saint Antoine
Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey Source: http://www.nyu.edu/pages/greyart/exhibits/counter/html/body_shadow.html
The three most popular shadow theater productions were L'Epopée (1888) by Caran d'Ache, (see below), La Temptation de Saint Antoine (1887), (see above), and La Marche à l'étoile (1890), both by Henri Rivière. In Rivière's shadow theater, cut-out silhouettes of figures, animals, elements of landscapes, and so forth, could be moved behind the screen on runners within a wooden frame. A succession of larger-to-smaller silhouettes created perspectival illusion.
 Silhouette from 'Epopée', from 'The Studio', 1898 Caran d'Ache' Source: a recent auction on ebay
 Silhouette from 'Epopée', from 'The Studio', 1898 Caran d'Ache' Source: a recent auction on ebay
"The Studio was a wonderful magazine entirely dedicated to the graphic/design arts. Pottery, engraving, jewelry, design, sculpture, photography, brodery, painting, sketches... and much more was the main matter of The Studio. Reportages, interviews, analysis, criticism and competitions in all kind of disciplines were to be found in its pages." "In spite of the very British style, cultivated and intellectual, The Studio was a truly internationalist. Promising artists and important events from almost everywhere in Europe and the world were discussed and promoted. The Studio was avangardist, and that¥s why you may find many of the works similar to what is performed today by modern artists!" Source: a recent auction on ebay
The silhouettes were at first made of cardboard and then, in 1888 with the first full-scale production of L'Epopée, of zinc. Behind the silhouettes were sliding structures supporting glass panels painted in a variety of transparent colors. At the very back, an oxyhydrogen flame provided the light source. The bold composition, colors, and silhouettes of Henri de Toulouse-Lautrec's 1891 poster for the Moulin Rouge dance hall reveal the dramatic influence of shadow theater effects on vanguard art at the end of the century. Founded in November 1881, the Chat Noir closed in February 1897, a month before Salis's death. Its greatest legacy was Rivière's shadow theater, which was the cabaret's largest public attraction. Over the years, thousands upon thousands of spectators viewed the Chat Noir's shadow theater productions where aristocrats, politicians, generals, scientists, adventurers, and tourists sat side-by-side with artists, writers, actors, and actresses. Source: Counter Culture: Parisian Cabarets and The Avante-Garde 1875-1905
Theatre d'Ombres - 1885 "But the true center of the new Chat Noir was the Theatre d'Ombres, the shadow theatre, a brain child of Henri Riviere which put all the Paris beau monde into a state of wonder by the brilliance of its technique and artistic innovation. The Theatre d'Ombres was a discovery in the true cabaret spirit. It was a genre which could be used for a variety of effects and incorporated all genres into a small scale replica of Wagner's 'total art work' (Gesamtkunstwerk).
 (Tournée du) Chat Noir, 1896 Théophile-Alexandre Steinlen, 1859-1923 Source: a recent auction on ebay.com
"Using an ingenious combination of shadow and light play, decor painted or superimposed on glass and paper, cut-outs and Japanese-style puppets, Riviere created unparalleled pre-cinematographic effects on the screen-stage. These were underlined by musical accompaniment, with a choir of sometimes up to twenty people backstage, piano or organ; by narration, either of the story-telling or satirical commentary kind; and by acting. The diversity of the shadow plays does credit to the eclectic black cat. One could pass without transition from the mysticism of Georges Fragerolle's L'Enfant prodigue, to Maurice Donnay's Athenian drama, Phryne, to the parodied naturalism of Louis Morin's, Pierrot pornographe, to the heroic epic, Epopee, which put Paris once again into a Napoleonic mood of patriotic jubilation. Epopee, a military play in two acts and fifty tableaux, was created by Caran d'Ache, one of the epoch's leading poster artists. Witnesses say that some of the shadow plays equalled in beauty Turner's impressionistic effects. "One kind of shadow play consisted of a satirical montage of current events, piece bonemontee, a newsreel with a difference. Salis (((Rodolphe Salis, impresario of the "Chat Noir" cabaret))) (...) would improvise a commentary, drawing in references to any notables in the audience. He had respect for nothing and no one, and with an insolent loquacity, Salis would allow his sharp sense of the actual to demolish bankers and the treasury, politicians and parliamentarianism, 'the grand monde, the demi-monde, tout le monde...' In this room, with its profligacy of cats in diverse positions and styles, Salis cast the mould for what was to become the cabaret tradition of the conferencier." (((The Chat Noir cabaret was founded in 1881 and the shadow-play seems to have faded circa 1900. -- bruces))) Appignanesi, Lisa, Cabaret, Grove Press, Inc. New York. pp 21-24. Originally published in Great Britain in 1975 by Studio Vista. First published in the United States in 1976 by Universe Books. First Evergreen Edition 1984 ISBN 0-394-62177-8, LC 84-47500 (((edited by Bruce Stirling)))
Théâtre d'Ombres
Théâtre d'Ombres - Home
Béatrice Coron's 'Papercutters' World'
Stages Bookstore: Magic and Illusion: Puppetry
Essays on some of the poster artists mentioned above
Jules Chéret "The Father of the Poster", 1836-1932 Chéret changed poster history when he developed a process known as the "three stone lithographic process". This was a breakthrough which allowed artists to achieve every color in the rainbow usually red, yellow and blue which were printed in careful registration.
 Poster "Pantomimes Lumineuses" Jules Chéret, 1836-1932 Source: a recent auction on ebay
The result was a remarkable intensity of color and texture, with sublime transparencies and nuances. Chéret had the ability to combine words and images in such an attractive format which was a powerful innovation. The streets of Paris, Milan and Berlin were quickly transformed into the "art gallery of the street," and ushered in the modern age of advertising. Advertising posters using visual images and verbiage became the dominant means of mass communication in the rapidly growing cities of Europe and America.
 Poster "Musée Grévin" Jules Chéret, 1836-1932 Source: a recent auction on ebay
This beautiful lithograph, depicts a puppet show extravaganza staged at the theater Musée Grévin. The image features, flowing lines which was inspired from nature. Chéret's use of new forms and freedom from imitation of historical styles places his mark on the Art Nouveau style which was an early step in modernist design. Color was of supreme importance and Chéret's figures are always elegant and cheerful. Source: a recent auction on ebay
 Advertising poster: The Ault and Wiborg Co, Printing Inks Jules Chéret, 1836-1932 Source: a recent auction on ebay
Caran d'Ache: b. Emmanuel Poiré, 1859 - 1909
Caran d'Ache is the Russian word for "pencil" and was the surname of a famous French painter, caricaturist and designer, Emmanuel Poiré. He was born in Moscow in 1859 and died in Paris in 1909. He was the grandson of an officer of the Great Army and consequently liked a lot of military flourish. His first creations glorified the Napoleon Epopée. He contributed to the newspaper "Lundi du Figaro" and signed his caricatures Caran d'Ache. A replica of his signature, with some modifications, became Caran d'Ache's logo for colour products. Source: http://www.carandache.ch/histo/hist.htm
Caran d'Ache. Prolific and innovative illustrator born in Russia who came to Paris in 1879 to enlist in the French army, and thereafter specialised in military scenes. He was a pioneer of narrative structures in the comic strip and above all in suggesting the pacing of narratives, over deliberate stretches of time or in performances and events. He influenced such visual humorists as "Fougasse" and H.M.Bateman, who learnt much from him about the slow release of a narrative in frames where the readers have to use their eyes. Source: http://cccw.adh.bton.ac.uk/schoolofdesign/MA.COURSE/01/LIACaran.html
Napoleon seen through the eyes of Caran d'Ache An exhibition on the Napoleonic period as represented by the 19th-century Chat Noir shadow-theatre in Montmartre is to open at the Paris Musée de l'Armée (12 October 1999 to 16 January 2000). This is the first time ever that the zinc figures designed by Caran d'Ache in 1886 have been shown to the public. A book has been produced to accompany the exhibition, including the following articles: 'Caran d'Ache, Murat et l'Epopée napoléonienne' by HRH prince Murat; 'Caran d'Ache, l'artiste ; le Théâtre d'Ombres et son histoire; Le Cabaret du Chat Noir; L'Epopée; Napoléon et le théâtre' by Mariel Oberthür; 'Derrière l'écran, Joseph Lemoine' by Pierre Lefranc; 'La musique au Chat Noir et l'Epopée' by François Lesure; 'La Légende napoléonienne dans l'art populaire' by Jérémie Benoît; 'L'image de Napoléon de la lanterne magique au cinématographe' by Laurent Mannoni; 'Le mythe napoléonien dans la littérature' by Philippe Régnier. L'Epopée vue par Caran d'Ache, 21x24 cm, pp.144, cloth binding, 10 quadrichromatic illustrations; 20 bi-chromatic illustrations; 20 outline illustrations; many black and white reproductions. On sale by subscription until 10 October 1999. For information contact the Musée de l'Armée. Source: http://www.napoleon.org/us/us_ci/actu/actualites.html also... Caran d'Ache. Born in Moscow to French parents (his grandfather was part of Napoleon's ill-fated Russian campaign), Emmanuel Poire came to Paris at the age of 20 to join the army. The drawings he made of military life and dress were published under the name Caran d'Ache, which means 'pencil' in Russian. His view of the Dreyfus Affair was anti-Dreyfusard, as much from his wish to support the army as from any anti-Semitic feelings he might have had. Source: http://graphicwitness.org/group/rire.htm
Thèophile-Alexandre Steinlen, 1859-1923
Steinlein was raised in Swisterland in an environment with drawing, painting were part of his family's background. Already as a schoolboy, Steinlein received art lessons. Yet his parents still strongly encouraged him to become a pastor after completing his philosophy course at Lausanne University. Steinlein would never show any enthusiasm for his studies. In 1879, he would finally leave the university without a degree, to became an apprentice in the textile factory. He produced original designs to be printed on fabric. A few years later Steinlen an his wife were encouraged by the painter Francois-Louis David Bocion (1828-1890) to move to Paris. In the famous artist quarters of Montmartre, Steinlein was introduced to a group of artists, singers and performers, who regularly performed at a club called "Le Chat noir". His friend Salis would perform regularly at the club, and Steinlen was responsible for creating many of the posters for him. Source: http://www.kattenkabinet.nl/html/steinlenenglish_1.html
The Eastern Shadow Play - A History The "shadow show" or "leather silhouette play" is a type of drama which has its roots in China. The plays can be quite dramatic and, when it comes to fairy tales or kungfu stories, the "actors" may be made to ride on clouds or perform unusual feats, to the great enjoyment of the audience, especially children. This essay from http://www.chinavista.com is stated as being based on material 'offered by' Mr.Du Feibao
Today's shadow puppets are made of leather instead of wood for the simple reason that leather is much lighter, easier to manipulate and carry round. The process for making the puppets is as follows: Sheep or donkey skin with hair removed is cleaned and treated chemically to become thin enough to be translucent. Coated with tung oil and dried, it is carved into various parts of dramatic figures. The trunk, head and limbs of a puppet are separately carved but joined together by thread so that each part may. be manipulated by the operator to simulate human movements. The leather puppets are painted with various colours to show their different qualities-- kind or wicked, beautiful or ugly. During the performance, the "actors" are held close to a white curtain with their coloured shadows cast on it by a strong light from behind. Moved by guiding sticks, they play the roles, accompanied by music, with their parts or singing done by the operators. The plays can be quite dramatic and, when it comes to fairy tales or kungfu stories, the "actors" may be made to ride on clouds or perform unusual feats, to the great enjoyment of the audience, especially children. The shadow show became quite popular as early as the Song Dynasty (960-1279) when holidays were marked by the presentation of many shadow plays. During the Ming (1368 -1644), there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia and Turkey. Later, it was introduced to Southeastern Asian countries, too. The show began to spread to Europe in the mid-18th century, when French missionaries to China took it back to France in 1767 and put on performances in Paris and Marseilles, causing quite a stir. In time, the ombres chinoises, with local modification and embellishment, became the 'ombres francaises' and struck root in the country. At present, more than 20 countries are known to have shadow show troupes. Some people may have gone too far in alleging that the Chinese shadow show heralded the cinematic industry, but it certainly has contributed its bit towards enriching the world's amusement business. Today, when the motion picture and television have become wide spread throughout the world, foreign tourists in China are still keen to see a performance of this ancient dramatic art. Shadow puppets are also available from certain shops as art souvenirs of the country. Source: http://www.chinavista.com/experience/piying/piying.html
Chinese Shadow Theatre Existing for over 1000 years, shadow puppets are the oldest puppets in the world, originating from China. Chinese shadow puppets are made of leather, It is a form of folk art, used to illustrate tales from history and stories. Intricate in design, rich in color, delicate in appearance, yet durable in texture, shadow puppets will be "alive" magically when silhouetted against a brightly lit screen in a darkened room.
Source: a recent auction on ebay also see...
China Shadow Play Institute
Taiwanese Shadow Theatre
 Ching Dynasty, Chinese shadow puppets Source: http://www.roc-taiwan.de/info/culture/30-3.html
The origins of Taiwan's shadow puppetry can be traced to the Chaochow school of shadow puppet theater. Commonly known as leather monkey shows or leather shows, the shadow plays were popular in Tainan, Kaohsiung, and Pingtung as early as the Ching dynasty (1644-1911 A.D.). Older puppeteers estimate that there were at least a hundred shadow puppet troupes in southern Taiwan in the closing years of the Ching dynasty.
Source:
http://www.roc-taiwan.de/info/culture/30-3.html
Indonesian Shadow Theatre
 Shadow Puppets from Southern Asia
Introductions and Master Classes in the Shadow Theater of Indonesia http://www.pacificnet.net/gamelan/shadowtheater.html
Turkish and Greek Shadow Theatre
 Peloponnesian Shadow Puppets
http://www.turkey.org/groupd/chapter1/karagoz1.htm
 Peloponnesian Shadow Puppets
http://thrace.ee.duth.gr/pli/skies.html
The Ways of Men by Eliot Gregory Chapter 16 - The Poetic CABARETS of Paris ".....The success of the original "Chat Noir," the first CABARET of this kind, was largely owing to the sympathetic and attractive nature of its founder, young Salis, who drew around him, by his sunny disposition, shy personalities who, but for him, would still be "mute, inglorious Miltons." Under his kindly and discriminating rule many a successful literary career has started. Salis's gifted nature combined a delicate taste and critical acumen with a rare business ability. His first venture, an obscure little CAFE on the Boulevard Rochechouart, in the outlying quarter beyond the Place Pigalle, quickly became famous, its ever-increasing vogue forcing its happy proprietor to seek more commodious quarters in the rue Victor Masse, where the world-famous "Chat Noir" was installed with much pomp and many joyous ceremonies. The old word CABARET, corresponding closely to our English "inn," was chosen, and the establishment decorated in imitation of a Louis XIII. HOTELLERIE. Oaken beams supported the low-studded ceilings: The plaster walls disappeared behind tapestries, armor, old FAIENCE. Beer and other liquids were served in quaint porcelain or pewter mugs, and the waiters were dressed (merry anachronism) in the costume of members of the Institute (the Immortal Forty), who had so long led poetry in chains. The success of the "Black Cat" in her new quarters was immense, all Paris crowding through her modest doors. Salis had founded Montmartre! - the rugged old hill giving birth to a generation of writers and poets, and nourishing this new school at her granite breasts. It would be difficult to imagine a form of entertainment more tempting than was offered in this picturesque inn. In addition to the first, the entire second floor of the building had been thrown into one large room, the walls covered with a thousand sketches, caricatures, and crayon drawings by hands since celebrated the world over. A piano, with many chairs and tables, completed the unpretending installation. Here, during a couple of hours each evening, either by the piano or simply standing in their places, the young poets gave utterance to the creations of their imagination, the musicians played their latest inspirations, the RACONTEUR told his newest story. They called each other and the better known among the guests by their names, and joked mutual weaknesses, eliminating from these gatherings every shade of a perfunctory performance. It is impossible to give an idea of the delicate flavor of such informal evenings - the sensation of being at home that the picturesque surroundings produced, the low murmur of conversation, the clink of glasses, the swing of the waltz movement played by a master hand, interrupted only when some slender form would lean against the piano and pour forth burning words of infinite pathos, - the inspired young face lighted up by the passion and power of the lines. The burst of applause that his talent called forth would hardly have died away before another figure would take the poet's place, a wave of laughter welcoming the new-comer, whose twinkling eyes and demure smile promised a treat of fun and humor. So the evening would wear gayly to its end, the younger element in the audience, full of the future, drinking in long draughts of poetry and art, the elders charmed to live over again the days of their youth and feel in touch once more with the present. In this world of routine and conventions an innovation as brilliantly successful as this could hardly be inaugurated without raising a whirlwind of jealousy and opposition. The struggle was long and arduous. Directors of theatres and concert halls, furious to see a part of their public tempted away, raised the cry of immorality against the new-comers, and called to their aid every resource of law and chicanery. At the end of the first year Salis found himself with over eight hundred summonses and lawsuits on his hands. After having made every effort, knocked at every door, in his struggle for existence, he finally conceived the happy thought of appealing directly to Grevy, then President of the Republic, and in his audience with the latter succeeded in charming and interesting him, as he had so many others. The influence of the head of the state once brought to bear on the affair, Salis had the joy of seeing opposition crushed and the storm blow itself out. From this moment, the poets, feeling themselves appreciated and their rights acknowledged and defended, flocked to the "Sacred Mountain," as Montmartre began to be called; other establishments of the same character sprang up in the neighborhood. Most important among these were the "Les Quat'z'Arts," "Boulevard de Clichy", the "Tambourin," and "La Butte". Trombert, who, together with Fragerolle, Goudezki, and Marcel Lefevre, had just ended an artistic voyage in the south of France, opened the "Les Quat'z'Arts", to which the novelty-loving public quickly found its way, crowding to applaud Coquelin CADET, Fragson, and other budding celebrities. It was here that the poets first had the idea of producing a piece in which rival CABARETS were reviewed and laughingly criticised. The success was beyond all precedent, in spite of the difficulty of giving a play without a stage, without scenery or accessories of any kind, the interest centring in the talent with which the lines were declaimed by their authors, who next had the pleasant thought of passing in review the different classes of popular songs, Clovis Hugues, at the same time poet and statesman, discoursing on each subject, and introducing the singer; Brittany local songs, Provencal ballads, and the half Spanish, half French CHANSONS of the Pyrenees were sung or recited by local poets with the charm and abandon of their distinctive races. The great critics did not disdain to attend these informal gatherings, nor to write columns of serious criticism on the subject in their papers. At the hour when all Paris takes its APERITIF the "Les Quat'z'Arts" became the meeting-place of the painters, poets, and writers of the day. Montmartre gradually replaced the old Latin Quarter; it is there to-day that one must seek for the gayety and humor, the pathos and the makeshifts of Bohemia. The "Les Quat'z'Arts", next to the "Chat Noir," has had the greatest influence on the taste of our time, - the pleiad of poets that grouped themselves around it in the beginning, dispersing later to form other centres, which, in their turn, were to influence the minds and moods of thousands. Another charming form of entertainment inaugurated by this group of men is that of "shadow pictures," conceived originally by Caran d'Ache, and carried by him to a marvellous perfection. A medium-sized frame filled with ground glass is suspended at one end of a room and surrounded by sombre draperies. The room is darkened; against the luminous background of the glass appear small black groups (shadows cast by figures cut out of cardboard). These figures move, advancing and retreating, grouping or separating themselves to the cadence of the poet's verses, for which they form the most original and striking illustrations. Entire poems are given accompanied by these shadow pictures. One of Caran d'Ache's greatest successes in this line was an Epopée DE NAPOLEON, - the great Emperor appearing on foot and on horseback, the long lines of his army passing before him in the foreground or small in the distance. They stormed heights, cheered on by his presence, or formed hollow squares to repulse the enemy. During their evolutions, the clear voice of the poet rang out from the darkness with thrilling effect. The nicest art is necessary to cut these little figures to the required perfection. So great was the talent of their inventor that, when he gave burlesques of the topics of the day, or presented the celebrities of the hour to his public, each figure would be recognized with a burst of delighted applause. The great Sarah was represented in poses of infinite humor, surrounded by her menagerie or receiving the homage of the universe. Political leaders, foreign sovereigns, social and operatic stars, were made to pass before a laughing public. None were spared. Paris went mad with delight at this new "art," and for months it was impossible to find a seat vacant in the hall. At the Boite a Musique, the idea was further developed. By an ingenious arrangement of lights, of which the secret has been carefully kept, landscapes are represented in color; all the gradations of light are given, from the varied twilight hues to purple night, until the moon, rising, lights anew the picture. During all these variations of color little groups continue to come and go, acting out the story of a poem, which the poet delivers from the surrounding obscurity as only an author can render his own lines. One of the pillars of this attractive centre was Jules Jouy, who made a large place for himself in the hearts of his contemporaries - a true poet, whom neither privations nor the difficult beginnings of an unknown writer could turn from his vocation. His songs are alternately tender, gay, and bitingly sarcastic. Some of his better-known ballads were written for and marvellously interpreted by Yvette Guilbert. The difficult critics, Sarcey and Jules Lemaitre, have sounded his praise again and again....." Source: http://ofcn.org/cyber.serv/resource/bookshelf/waymn10/chapter16.html
Cabaret: When Voltaire met the Black Cat By Dave Riley The word Cabaret is derived from the French term for wine cellar or tavern. As far back as the 15th century, such cabarets served as meeting places for artists and where an enterprising host would allow his premises to be used by performing balladeers, jugglers, strolling players and the like. In the late 19th century, the song or chanson became the major form of entertainment provided by the French cafes or bistros. Without radio or television, in a world where the print media were controlled by the ruling class, the chanson was one of the few means by which people could record their daily history and voice their reactions to contemporary events. Out of these developments, the first modern cabaret was born in 1881. In a Paris still being rebuilt after the bloody suppression of the Commune ten years previously, a more intellectual and self-consciously artistic form was integrated, though laughter and entertainment were its essence. Its birth was sparked by a literary society known as the Hydropathes, which met weekly to recite poetry, sing lyrics and perform monologues and short sketches. Their venue, the Black Cat, soon became the explosive home of the Parisian bohemia, full of sparkle, wit, esoterica and satire. In time, the Black Cat was copied at other Parisian establishments, and the style and substance of the cabaret soon migrated east so that by the outbreak of the first world war, there were vigorous cabarets in Berlin, Munich, Vienna and Moscow. http://jinx.sistm.unsw.edu.au/~greenlft/1993/89/89p24.htm
Putting the 'Grands' Back Into (the Paris) Boulevards
Modest Paris Plan to Make Part of City Centre More Congenial for Residents and Visitors In this age, Parisians flooded the grand boulevards, the passages - meeting places of the 'Incroyables'- these dandies - and the 'Merveilleuses' - extravagantly dressed men as well as ladies, during the period of the Directoire at the end of the 18th century. Dress was not the only thing extravagant - when Monsieur Thayer's Passage des Panoramas opened in 1800, its entry was flanked by two towers, each 17 metres in diameter. The 20-metre high towers were covered in paintings, about 100 metres long by 20 high. The first two showed a panoramic view of Paris as seen from the highest tower in the Tuleries, and a scene of the English retreating from Toulon. This attracted a large crowd to the passage and a third, bigger, tower was added. These towers launched a 'ramamania' throughout Paris - géoramas, dioramas, cosmoramas, diaphanoramas, navaloramas and other diverse cycloramas. Despite the dismantling of the towers in 1831, the passage was enlarged and grew more popular than ever. Next door to the passage, is the Théâtre des Variétés. On 8. June 1806, Napoléon decreed that there be no more than eight theatres in the city, and the Variétés was one of them. But it was at the Palais-Royal and had to find someplace else. Its director, Monsieur Montansier, rented the gardens of the Hôtel de Montmorency-Luxembourg, called since 1800, Panorama Gardens, from Mr. Thayer and the 1,600-seat theatre was built and inaugurated on 24. June 1807. The first show was a vaudeville by Désaugiers, the 'Panorama de Momus.' 'La Belle Hélène' by Offenbach premiered here on 13. December 1864. More recently, since Monday, 21. October 1996, Jean-Paul Belmondo has been playing the lead in 'La Puce à l'Oreille,' which is a piece in the Variétés tradition. Mr. Belmondo owns a part or all of the theatre, where Napoléon laughed a little, Louis XVIII laughed loudly, Charles X smiled and Louis-Philippe laughed, also resoundingly. Another way to keep warm was to go directly across the street and into the Passage Jouffroy, which was built in 1835, and was Paris' first heated passage. The hotel built on top on it was called Le Grand Hôtel de la Terrace Jouffroy in 1847 and is now named Hôtel Ronceray. The hotel is to the left of the passage, and the wax works of the Musée Grévin is to the right. Cartoonist, famous for his album 'Les Parisiennes' and his designs in the 'Journal Amusant,' Alfred Grévin opened his museum on 10. January 1882 and it hasn't closed since.
Source: Metropole Paris, ed. Ric Erickson
Graphic Witness Well before radio broadcast the news or television brought it flickering into the living room, even before the development of easily portable cameras and film, illustrations of news events and political opinion could only be produced graphically, and that required the hand of the artist. Periodicals printed their illustrations from wood or steel plate engravings, copper plate etchings and lithographs made with crayon stick and tusche on stone. The growing use of photo-engraving (photo-gravure) early in the 20th century added pictures of 'real' people and places to the journals. By the late 1930s, photo journalism had largely supplanted graphic journalism, with the noteable exception of courtrooms (until recently). This section of Graphic Witness is dedicated to an exploration of a small portion of that evocative graphic imagery, which was once the only way to illustrate the news. Where did graphic news start? The history of satire as graphic caricature, published and collected in what were then contemporary anthologies, goes back (at least) to 18th Century British artists like William Hogarth, Thomas Rowlandson and James Gillray. Political events (revolutions in the British North American colonies and in France, as well as the Napoleonic Wars), coupled with the development of cheaper, faster and easier to use printing technologies encouraged an explosive growth in the numbers of illustrated newspapers and periodicals. Journals devoted to political and social commentary proliferated on both sides of the Atlantic. In France, Charles Philipon founded Le Charivari in 1832 (after an earlier publishing effort, La Caricature, was silenced by the State). Le Charivari survived and influenced other publications, notably its British counterpart, Punch, subtitled "the London Charivari." By the mid-19th century in America, and following in this tradition, came Harper's Illustrated Weekly (1857), the newspaper associated with the influential artist/illustrator Thomas Nast. After the Civil War, Puck (1876) and Judge (1881) were founded. They employed what were then relatively new methods for printing color lithography in many of their illustrations. Among their counterparts in France were Le Rire (1894) and L'Assiette au Beurre (1901); in 1896, Simplicissimus was founded in Germany. Each of these, and a host of other publications provided graphic social commentary and political views using caricature, satire and humor. Source: Tusche, tone and stone: 19th C. news illustration
Source: witness@smart.netalso see...
Original Posters (1895-Present) Yaneff International Fine Art
Great Poster Movement, Theand finally...
WetCanvas: Virtual Museum: Masters of the Poster
Children's (Toy) Shadow Theatre
 A toy panorama; the Myriopticon Historical panorama of the Rebellion, Springfield, Mass Source: http://www.musikwissenschaft.uni-mainz.de/tbmengl.htm A toy panorama; the Myriopticon. Historical panorama of the Rebellion, Springfield, Mass.: manufactured by Milton Bradley & Co. [um. 1890] held in the Library of Congress, Washington, D.C., The musicians at the sides of the stage represent the musical accompaniment piano and or songs, commonplace with full size panoramas. size: approx 6" high, 8" wide and 2" deep.
This project at the Musicological Institute of the Johannes Gutenberg-Universito/oot Mainz is part of the framework by the German Research Society (DFG) 'Theatralito/oot - Theater als kulturelles Modell der Kulturwissenschaft' (Theatrical forms - Theatre as cultural model of cultural studies') under the direction of Prof. Dr. Erika Fischer-Lichte (Technische Uniersito/oot Berlin) The focus of the research is on the music which accompanied the preliminary forms of the modern film in the 19th century (e.g. diorama, panorama and tableaux vivants). The developement of the music connected to these pictorial creations can be regarded as "history" of the 'invention' of film music. Because of this connection of the various arts within these visual 'worlds', the project gains an explicit interdisciplinary character The current status of the project is a collection of all relevant documents available of the period between 1820 and 1900. In this case source material, reviews, theatre sheets and programms are to be collected. Eventually the results will be published in two volumes: comprising one study and one documentary volume. Further publications are planned as well as talks which should be given at several conferences in the future. Every piece of advice, concerning general or special interest, literature or souce material, is welcome. Also everyone is invited to contact the project . We would be very pleased about a lively correspondence. Abstract According to the Theatre Dictionary from 1839, a "picture" is a "product of imagination or the visible representation of an object made possible by the medium of colour and other materials". Following general standards this definition seems confusing. The modern connotation of the term "picture" implies the photographic impression, whereas older conceptions in fact conceive it - up to the 19th century - as a result of the recipient's imagination, caused by the ensemble of perspective, colour, form and music. Apart from the main types of Musical Theatre (opera, melodrama, ballet, theatre plays with music) there are less common forms of the connection between the various arts in the 19th century: dioramas, panoramas, early shows of projection, and ‘tableaux vivants’ (living pictures), which represent genuine optical media, made use of music with self-evidence to create an overall event, a performance. This study is focused on the music which was linked to such extremly popular dramatical forms of visual worlds. On common grounds, the year 1895 represents the initiation of film. The above mentioned pictorial media were preliminary technical forms of the film. Considering the general development, especially in view of the accoustic dimension, a fundamental continuity between those preliminary forms and modern film can be observed. The aesthetic function of the music that was performed together with the first movies since 1895 basically corresponds to the music which accompanied the various pictorial creations in the different arts and media of the 19th century. From this point of view the general topic including the early silent movies can be considered as "history" of film music between 1820 and about 1900. To read a detailed sketch, please visit the project homesite
Contact: Johannes Gutenberg
 Teatro d'ombre con stemma di re Carlo Alberto Source: http://www.cisi.unito.it/~gleb/mnc/visita3.htm
Teatro d'ombre con stemma di re Carlo Alberto. Servì a dare spettacolo a Corte negli anni intorno al 1840. Dimensioni: cm. 40 x 9 x 38; corredato da alcune figurine alte cm. 11. Gli steli in sottilissimo fil di ferro permettevano di dare ai personaggi la possibilità di effettuare alcuni movimenti essenziali. Il teatro d'ombre Si tratta di uno spettacolo che utilizza sagome ritagliate nel cuoio o nel cartone, o marionette le cui ombre vengono proiettatte su uno schermo. L'origine è remota: vi sono notizie di tali proiezioni nella Cina, nel Giappone, nella Thailandia del II secolo d.C. Si avvicinarono poi all'Europa, attraverso la Persia, la Turchia, l'Egitto, l'Algeria, con perfezionamenti e modifiche. Le ombre cinesi venivano utilizzate per spettacoli di fantasia, per satire politiche e sociali, ed anche per scene erotiche. A Parigi, fino al 1914 i «Théâtres d'Ombres» ebbero un grande successo: da Caran D'Ache a Willette, da A. Guillaume a Eric Satie, molti pittori, musicisti e scrittori collaborarono alle animazioni nella penombra di teatri grandi e piccoli. La collezione del Museo Nazionale del Cinema di Torino comprende alcuni esemplari di teatrini, come il Teatro di ombre cinesi pieghevole della fine del '700, o il teatro d'ombre con lo stemma di re Carlo Alberto per gli spettacoli di corte, nel 1840, o ancora una scatola di ombre cinesi risalente alla seconda metà dell'800, che offre la possibilità di modificare i colori della rappresentazione utilizzando appositi rulli che ruotano su sé stessi.
 A toy shadow theatre c.1910 Source: to be researched
Original pictorial cardboard procenium stage (175 x 230 mm) colorfully illustrating a stage scene with full orchestra, a red curtain, and two theatre masques above the stage. With original thin canvas mounted behind box. Canvas a little stained. In the original pictorial box. An exceptionally fine example. This delightful shadow-transformation book contains numerous illusion figures and pictures, such as a man in a balloon and a boy on a camel. The fifteen stiff-board figures, here kept in an envelope, come with an attached transforming animal figure. The object of this "shadow puppet theater" is to give the illusion of human figures of certain trades transforming into their animal counterparts, such as man on safari turning into an elephant, a gentleman turning into a stork, or a coachmen turning into a horse. The original box includes the original wire piece, with circular slits in which to place figures, so that they can easily be manipulated against the screen; portions of the original sheet of cut-outs and a few that the former owner seems to have made himself (specifically a cut-out of an American Indian with feather headdress smoking a pipe with an attached movable arm holding an umbrella). A most charming example of a nineteenth-century shadow game, with the extra appeal of transformation figures adding to the enjoyment. According to Hain in his publication of Moveable Books, these shadow books enjoyed "a great vogue with young people at the time" (Hain, p. 110). HBS 19482. Offered for sale by Heritage Bookshop Inc
A selection of rare and or out of print books on Shadow Theatre (alt: Theater) or "Ombres Chinoises" recently sourced on http://www.bibliofind.com
EUDEL (Paul) : Les Ombres Chinoises de mon PËre. ; P., E. Rouveyre s.d.; gr. in-8 br. de 306 pp. Couv. remontèe. Ex. trËs dèfr. Fig. Rèf. : -12235- Offered for sale by Librairie du Bat d'Argent FIELDS, ARMOND Le Chat Noir: A Montmartre Cabaret and its Artists in Turn-of-the-Century Paris. Softcover. 56pp. 14 color and 45 b/w illustrations. Foreword by Robert Henning. Essay by Armond Fields. Biographical references, bibliography, index. 1993. Distributed by University of Washington Press. GUIGNOLLET : Thè,tre des ombres chinoises. ; Nouveau sèraphin des enfants. Recueil de jolies piËces amusantes et facile # monter. Paris, Le Bailly sans date; in-16 brochè, 144 pages. 9 illustrations # pleine page. Frontispice rèparè, couverture illustrèe dèfraichie. Rèf. : -61199 Offered for sale by Librairie du Bat d'Argent LEYS (SIMON): Ombres chinoises. ; 29916-01 TOUR DU MONDE EN 300 LIVRES DIVERS - GENERALITES Offered for sale by Chapitre.com LOU-KIANG-TEU : OMBRES CHINOISES ; LOU-KIANG-TEU. BETTENCOURT, Pierre. Ombres Chinoises. Traduit par P. Bettencourt. [Sanit Maurice d'Etelan: Bettencourt],1959 (1960) Copy No. 12 on Whatman (Watermark:"J. Whatman,1954" and "England"), one of six from a limited total issue of 156 copies: 140 on velum d'Arches, six on Whatman and six on Japan Imperiale, all numbered. [...] A modern translation of the writings of this fifteenth century Chinese sage, illustrated with six original line drawings,hors-texte, ornaments and culs-de-lape by Pierre Bettencourt (1917 - ). Offered for sale by Priscilla Juvelis, Inc. Avec La Collaboration de L'Associaton Francais des Amis de L'Orient. ; Revue des Arts Asiatiques: , Paris 1925, R.D.A.A. [...] Articles: G. Coedes: L'ART DE LAQUE DOREE AU SIAM, plates 1- 5, 6p. text. H. D'Aardenne de Tizac: STATUAIRE SIAMOISE ET STUAIRE KHMERE, plates 6-7, 5p. text. Rene Nicolas: LE THEA- RE D'OMBRES AU SIAM, plates 8-9, 12p. text. Marcel Granet: CHANSONS D'AMOUR DE LA VIEILLE CHINE 17p. text. Charles Vignier: L'EXPOSITION D'ART ORIENTAL PLATES 10-12, 8p. text. Josephp Castagne: LES RUINES DE TERMEZ plate 12, 9p. text. Bibliographie: book reviews, & bulletin. Paris 1925, R.D.A.A. Offered for sale by RARE ORIENTAL BOOK CO., ABAA., ILAB.
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