EXTRACTS: Illustrators issue 14 © 2016 The Book Palace (96 PAGES in Full edition)

72 historical illustration brought him many financially rewarding commissions from some unusual sources. From the 1880s through to the 1920s, his work could be found in publicity material for hotels, high class grocers and even novelty manufacturers. Leloir’s signature could be seen on the labels for Bénédictine liqueur, Calvet wine, Clicquot champagne and Planteur chocolate. In 1903, he was commissioned to design 18th century scenes of the Trianon and Versailles for the salon of the Villa Tijuca at Saint-Jean Cap Ferrat and, in 1923, he designed scenes from the period of Louis XIV for the ceiling and friezes of the Marquise de Sevigne’s celebrated Parisian tea rooms on the Boulevard de la Madeleine. As a collector of historical costumes, Leloir contributed to a number of exhibitions and regional museums, but his grand idea was his creation of a costume museum in Paris. In 1907 he founded the Society of Costume History and, as president, supervised the restoration of costumes, weapons and even ancient vehicles that were bought or given to them. Later, in 1920, Leloir gifted to the Carnavalet Museum in Paris 2,000 costumes and accessories. One of his greatest achievements was his 'Dictionary of Costume and Accessories, Weapons and Fabrics, from its Origins to Today'. Written and illustrated by Leloir, it was published after his death in 1951. This Dictionary remains a major reference for all those who study historical costume. It’s not overstating the case to say that Maurice Leloir was an artist truly obsessed with the past. His life was dedicated to the idea of resurrecting the past in every aspect of historical art. In everything he did, from advertising, promotion material and magazine work, to his gallery painting, designs for Parisian interiors and, especially, his work for books, he revealed a true appreciation of the importance of authenticity in historical illustration. It was his great skill as a draughtsman and watercolourist that enabled Leloir to bring his perception and vision of the past so vividly to life. ● ● I would like to thank my good friend, Mike Crowley, for his invaluable help in translating for me a number of French articles on Leloir. BELOW: Another scene from Douglas Fairbanks' production of 'The Man in the Iron Mask'. A film which bears the stamp of Leloir's artistry and to which he contributed many set and costume designs. RIGHT: 'Conversation galante au Hameau' Although much of Leloir's work was in line and watercolour, his command of oil paint and his feeling for light were equally assured.