In an elegant salon on the place Vendôme in Paris, Devambez perpetuated a prestigious tradition of luxury publishing, fine stationery and large format printing.
Founded in 1826, Devambez is unusual in that it brought together three activities, namely heraldic engraving for royal families, publishing, and art gallery management.
The famous gallery revealed scandalous drawings by Auguste Rodin and displayed the works of avant-garde artists such as Braque, Dufy, Matisse, Picasso, Modigliani and Foujita. It also organized the first ever exhibition of African and Oceanic art, with a catalogue featuring an introduction by the great poet Guillaume Apollinaire.
Devambez published some thirty limited edition art books illustrated by the leading artists exhibited in the gallery. Authors included major writers such as Joris-Karl Huysmans, Gustave Flaubert, Anatole France, Pierre Loti, Alphonse de Châteaubriant, Oscar Wilde and Paul Verlaine.
In 1928, Paul Poiret chose Devambez to publish his famous guide to Parisian luxury, entitled PAN. Annuaire du luxe à Paris. This book symbolizes the quest for elegance that makes Devambez a true artist of paper.
A quest that has spanned the years and which, in 2011, saw the publication of the book entitled Goyard: a precious limited edition of 233 copies, which revived techniques of typography faithful to the timeless ideal of refinement that has always characterized Devambez.
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On 14 November 2012, Italian tradition encountered Parisian luxury: the Magliabechiano Room, a sumptuous showcase for some of the rarest books in Italy, provided the setting for a donation of a copy of the limited edition tome Goyard, Malletier. Maison fondée en 1792 to the Uffizi Library in Florence. Florence, cradle of Italy’s artistic heritage, is […]
“All of Paris has been flocking there for days.” Thus Gil Blas announced the exhibition of 144 erotic drawings by Rodin that opened on 19 October 1908 at the Devambez Gallery. The scandalous sketches and quickly executed watercolours hung in the gallery’s salons were like captured moments, “readings of movements at first sight”, where, as […]
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When Baron Haussmann replaced M. Berges as Prefect of the Seine in June 1853, the outer edge of Paris was still defined by the so-called boulevards extérieurs. The Boulevard de la Chapelle, the Boulevard Rochechouart, the Boulevard de Clichy, the Boulevard de Batignolles and the Boulevard de Courcelles formed a “symbolic frontier” that followed the […]