Galleries
In the galleries below, you’ll find most of the images referenced in Ephemeral Bibelots, including those that could not be included in the print edition. Click through on the images for larger sizes.
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Cover of Vogue, January 31, 1895, “LE CHAT NOIR” Théophile Steinlen, “La Ballade du Chat Noir,” photo-relief cover illustration for Le Chat Noir, August 9, 1884. The original sign of the black cat in front of the cabaret was painted by Adolphe Léon Willette. Théophile Steinlen, “La tournée du Chat Noir,” chromolithograph poster, 1896 Adolphe Léon Willette, La Vierge Verte (Green Virgin, or virgin with cat), c. 1881, Oil on canvas, overall: 199 x 57.5 cm (78 3/8 x 22 5/8 in), Regina Best Heldrich Art Acquisition Fund 2001.0371, The Zimmerli Art Museum Henri Pille, cover illustration for Le Chat Noir, the magazine started in 1882 by Rodolph Salis for his cabaret of the same name. Fernand Fau, “Solemn cortege of the Chat Noir Going to Explore the Regions of the South,” pen and ink, reproduced in Le Chat Noir July 30, 1892. Morse Fund. Aubrey Beardsley, The Black Cat, commissioned by Stone & Kimball for a large paper edition (250 copies) of Edgar Allan Poe’s collected works first published in 1895. Ted Powers, illustration for an appreciation of Maggie Cline, M’lle New York, 1895 The devil and his lover perched on the black cat’s tail, M’lle New York 1:10 (January 1896). Cecilia Beaux, Sita and Sarita (1893-4) From the Chap-Book, April 15, 1898, more of Steinlen’s black cats. Rubén Darío, Los Raros, published in Buenos Aires in 1896. Cover of Vogue, April 18, 1895, “NATURAL HISTORY SERIES OF HEAD ADORNMENT PROPHESY FOR AUTUMN OF 1895” -
“OUR CLUBBING LIST—refused by THE COMPLETE ALPHABET OF FREAKS,” from Le Petit Journal des Refusées, 1896 The Lark, showing the primary editor, Gelett Burgess, at work amid the detritus of other ephemeral bibelots, including the Philistine, the Echo, the Chap-Book, Le Petit Journal des Refusées, and the Bibelot. Gelett Burgess, “The Purple Cow,” published in the first number of the Lark in May 1895. -
La Lune, October 1865, was the first in a series of parodic art magazines, featuring the work and editorship of André Gill. Censored by the French government, the magazine was subsequently rechristened under three new names, L’Eclipse in 1868, La Lune Rousse in 1876, and La Petite Lune in 1878. Les Hydropathes (occasionally written simply L’Hydropathe), published from 1879 to 1880 by Emile Goudeau, whose name initiated the pun for the title of the magazine (goût d’eau) and the eclectic coterie of artists organized under the umbrella of the term. Goudeau went on to edit Le Chat Noir. Gelette Burgess, “Some Phases of Primitive Art,” the Lark No. 1, May 1895 Gelett Burgess, “The Invisible Bridge (Verse and Cartoon,” the Lark No. 2, June 1895. Gelette Burgess, “The Goop (Verse and Cartoon),” the Lark No. 22, February 1897. Gelette Burgess, “This is the Muse of Nonsense,” The Burgess Nonsense Book (New York: Frederick A. Stokes Company, 1901), 9. Gelett Burgess, “Table Manners.—I.,” Goops and How to Be Them: A Manual of Manners for Polite Infants (New York: Frederick A. Stokes Company, 1900) Gelett Burgess, detail, “The Ghost of a Flea,” in Le Petit Journal des Refusées The Blue Sky, August 1899 Ye Quaint Magazine, 1903 -
Franz von Stuck, Cover of Pan, April-May 1895. Stuck had been the co-founder of the Munich Secession in 1892. Second page of the article by A. Warburg, “Amerikanische Chap-Books,” Pan 2:4 (October 1896), which reproduces pages from the Chap-Book and the Lark. Henry G. Fangel, Cover of Le Quartier Latin 4:20, March 1894. The journal was edited by young American artists living in Paris and published simultaneously in Paris, London and New York between 1896 and 1899. Rare Book Division, Department of Rare Books and Special Collections, Princeton University Library. The Philosopher, February 1899, published out of Wasau, Wisconsin. Little Magazines. Rare Book Division, Department of Special Collections, Princeton University Library. Gelett Burgess coined the word “blurb” in 1907 to announce the publication of his collection of humorous essays, Are You a Bromide? Oskolki, a Russian “skinny magazine,” which published something like a ‘blurb’ from a young Anton Chekhov in 1883. Hougton Library, Harvard University, pRB8.A100.881o. Eugène Cottin’s “Comment on devient anarchiste,” published in Le Chat Noir, July 2, 1892. Gelett Burgess, “Elliptical Wheels on a Cart,” The Lark, No. 8, December 1895; see above for the drawing as reproduced in Pan. The Scream, a “whimsical black-and-white, which is typical of Evard Munch only in his whimsical mood,” redrawn for M’lle New York 1:10, January 1896, from a woodcut in La Revue Blanche. Ernest Haskell, Cover, Le Quartier Latin 3:12, July 1897. Rare Book Division, Department of Rare Books and Special Collections, Princeton University Library. The Clack Book “lays an egg” on its cover for April 1896, a self-deprecating pun on sister magazines the Lark and the Chap-Book. Little Magazines. Rare Book Division, Department of Special Collections, Princeton University Library. -
John Sloane’s poster for Moods: A Journal Intime. 1894. Courtesy Special Collections and University Archives, Rutgers University Libraries. Will Bradley, cover design for the Echo. May 1, 1895. Courtesy Princeton University Library Special Collections. Detail of a visualization of the citation network of “ephemeral bibelots” from 1895 to 1897, produced by the author. Loïe Fuller dancing, ca. 1900, a photograph by Samuel Joshua Beckett that had been in the possession of the sculptor Theodore Rivière. The Metropolitan Museum of Art. Gilman Collection, Purchase, Mrs. Walter Annenberg and The Annenberg Foundation Gift, 2005. www.metmuseum.org. Jules Cheret, poster featuring Loïe Fuller at the Folies-Bergère. 1893.Lithograph, printed in color, 48 ½ X 34 ½” (123.2 X 87.6 cm). Acquired by Exchange. The Museum of Modern Art, New York, NY, U.S.A. Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY. Henri de Toulouse-Lautrec, Miss Loïe Fuller, 1893. http://www.metmuseum.org/art/collection/search/334291 Loïe Fuller, as sketched by Henri de Toulouse-Lautrec, 1892. Public domain. François-Rupert Carabin, Loïe Fuller, 1896-1897. Bronze. Gift of Herbert D. and Ruth Schimmel. 2000.0644.001-006. Will Bradley, “The Skirt Dance,” published in the Chap-Book 2:2 (December 1, 1894), 56. Will Bradley, “The Ballet,” published in the Chap-Book 2:2 (December 1, 1894), 59. Will Bradley, “The Serpentine Dance,” published in the Chap-Book 2:2 (December 1, 1894), 62. Public domain. -
Walt Whitman. 1873. Photograph by Phillips & Taylor, Philadelphia (Library of Congress, Feinberg-Whiman Collection “Chrysalis and Butterfly,” Vogue, March 5, 1896 Illustration of Poe’s “Ulalume” from the Quartier Latin 6:29 (January 1899) Advertisement for Parfumerie Oriza, the Quartier Latin 1:3 (October 1896) “A New Hat,” illustration for “A Maiden Metamorphosis,” Vogue 2:5 (July 29, 1893). “Those Who Have Worked With Us,” Vogue 4:23 (December 6, 1894). Ted Powers, illustration for inaugural issue of M’lle New York, August 1, 1895 Ted Powers, illustration for the second number of M’lle New York, September 1, 1895 Illustration accompanying a denunciation of Willam Dean Howells as “the chief defect in American literature” in M’lle NY August 13, 1895 McIntire, “Borrowing Trouble,” Vogue, Sept. 12 1895 Genie in a vase, Vogue cover, September 19, 1895 Genie in a wine bottle, M’lle New York, August 1895 “Men’s Fashion in Girls,” Vogue, May 21, 1896 Louis Rhead, illustration for “It is not given to everyone now,” Vogue, June 27, 1895 Louis Rhead, illustration for “After a Few Years of Adult Life,” Vogue, Jan 31, 1895. Louis Rhead, illustration for “Being a lady is the goal of every woman’s ambitions,” Vogue, April 11, 1895 Will Bradley, illustration for “A new defect has been found in woman…,” Vogue; Nov 8, 1894. Will Bradley, illustration for “Great is the perturbation over the snapping of matrimonial bonds,” Vogue, Nov. 14, 1895. John Sloan, illustration for Kate Chopin’s “A Scrap and a Sketch,” Moods, Vol. 2, 1895. Albert Blashfield, “Dressing for the Ball—The Débutante’s Reverie,” cover for Vogue, December 13, 1894. -
Crane’s “I stood upon a High Place,” illustration by William Denslow, in the Philistine 8:4, March 1899 Will Bradley, cover design for War is Kind (1899) Gelett Burgess, detail from “Our Clubbing List,” Le Petit Journal des Refusées (1896) Crane as network hub: detail from a visualization of the ephemeral bibelot’s citation network cited or published in some of the leading bibelots, produced by the author McSweeney’s Quarterly Concern, No. 9, 2002 Jules LaForgue in M’lle New York, January 1896 Frank Hazenplug, “The Bluff,” the Philistine 1:3, August 1895 Frank Hazenplug, “The Blind,” the Chap-Book 1 June 1895 Souvenir number of the Roycroft Quarterly, celebrating Stephen Crane, May 1896 A blurb for the Lark—“the SHARK”—published in the Philistine 2:1, December 1896 “I saw a man tugging at his Boot Straps,” a parody of Crane from the Philistine, February 1899 Sidney Carlyle’s “Decoration” of Les Fleurs du Mal, in Rogue, October 1915. Cover, Pagany, A Native Quarterly, 1931