‎Impressionnisme‎

‎Cezanne - MICHELI, Mario de‎

‎CEZANNE - Barcelona 1968 - Muy ilustrado‎

‎Barcelona, Edit. Toray, 1968. 76 ilustraciones en color fuera texto. 39p. de texto. 8º. Rústica editorial ilustrada. Dos páginas desprendidas. Buen ejemplar.‎

‎CEZANNE - Riviere Georges,‎

‎Cézanne le peintre solitaire‎

‎60 reproductions dont 8 en culeurs . 16mo. pp. 182. . Ottimo (Fine). . Prima edizione (First Edition). .‎

‎CEZANNE, Paul (Aix-en-Provence, 1839 - Aix-en-Provence, 1906),‎

‎Cézanne les dernières années (1895-1906)‎

‎Catalogo di mostra, Parigi, 20 aprile - 23 luglio 1978. A cura di Hélène Adhemar. Introduzione di William Rubin. Tavole a colori e in bianco e nero. Biografia. Bibliografia . 8vo. pp. 254. . Molto buono (Very Good). . . .‎

‎CEZANNE, Paul (Aix-en-Provence, 1839 - Aix-en-Provence, 1906),‎

‎Cézanne‎

‎Catalogo di mostra, Parigi, Galeries nationales du Grand Palais, 25 settembre 1995 - 7 gennaio 1996; Londra, Tate Gallery, 8 febbraio - 28 aprile 1996; Filadelfia, Philadelphia Museum of Art, 26 maggio - 18 agosto 1996. Testi critici. Opere divise e illustate in ordine cronologico: Gli anni sessanta, settanta, ottanta, novanta, dal 1900 al 1906. Cronologia; I collezionisti di Cezanne da Zola ad Annenberg; Bibliografia, Elenco delle esposizioni, Indice delle opere esposte. Con numerose tavole a colori fuori testo e illustrazioni. Edizione in francese . 4to. pp. 600. . Ottimo (Fine). . . .‎

‎CEZANNE, Paul (Aix-en-Provence, 1839 - Aix-en-Provence, 1906),‎

‎Disegni di Cézanne‎

‎Catalogo di mostra, Palazzo Braschi, Roma, 13 febbraio - 30 marzo 1979. Introduzione di Nello Ponente. 151 tavole in bianco e nero. Breve biografia, catalogo delle opere esposte. Bibliografia . 8vo. pp. 144. . Molto buono (Very Good). Firma di appartenenza al frontespizio (Owner's name on the title-page). . .‎

‎CEZANNE, Paul (Aix-en-Provence, 1839 - Aix-en-Provence, 1906),‎

‎Paul Cézanne‎

‎Testo di Adrian Stokes. Traduzione di M. Cinotti. 10 illustrazioni a colori applicate . 4to. pp. 26. . Molto buono (Very Good). . . .‎

‎CEZANNE, Paul (Aix-en-Provence, 1839 - Aix-en-Provence, 1906),‎

‎Paul Cézanne. 1839-1906‎

‎Testo di Ellie Faure. Con 60 tavole in bianco e nero . 16mo. pp. 64. . Molto buono (Very Good). . . .‎

‎Cezanne, Paul - Rewald, John‎

‎Cézanne. Biographie.‎

‎Köln, DuMont Buchverlag, 1986. 4°. 33 x 27 cm. 287 Seiten. Original-Leinenband mit Original-Schutzumschlag.‎

‎1. Auflage. Mit 118 Abbildungen in Farbe und 151 Abbildungen in Schwarz-Weiß. Sehr gutes Exemplar.‎

書籍販売業者の参照番号 : 9001EB

‎Chauveau (Sophie)‎

‎Fragonard. L’invention du bonheur‎

‎Télémaque 2011 In-8 broché 23 cm sur 15. 413 pages. Bon état d’occasion.‎

‎Fragonard invente le bonheur... et Sophie Chauveau, avec le talent si particulier qui est le sien, brosse avec un formidable luxe de détails, la fresque foisonnante et méconnue de ses soixante-quatorze années d’existence. Bon état d’occasion‎

書籍販売業者の参照番号 : 88753

‎Charles S. Moffett‎

‎Impressionist and Post-Impressionist Paintings in the Metropolitan Museum of Art‎

‎Harry N. Abrams 1998 In-4 relié 32 cm sur 26,4. 256 pages. Bon état d’occasion.‎

‎Bon état d’occasion‎

書籍販売業者の参照番号 : 58497 ISBN : 810981084

‎CHAN Georges‎

‎Les peintres impressionnistes et le chemin de fer.‎

‎La Vie du Rail, 1955. Plaquette 24x26 cm, 20 pages, vignettes couleurs, un des 1000 exemplaires numérotés sur papier des Papeteries Grillet et Féau. Envoi.‎

‎Imprimerie Georges Lang, Paris. Photographies de LANIEPCE, Collection SKIRA, VIZZAVONA et DURAND-RUEL.‎

書籍販売業者の参照番号 : CF387

‎CHAUVEAU, Sophie.‎

‎MANET - Le secret.‎

‎Paris, Telemaque, 2014. in-8°, 381 pages, broché, couverture illustrée en couleurs.‎

‎Tres bel exemplaire. [DV-5]‎

書籍販売業者の参照番号 : 43768

‎Chabot, G. (préface)‎

‎Rétrospective Théo van Rysselberghe‎

‎Musée des Beaux-Arts de Gand, 1962. In-8, agrafé sous couverture illustrée en noir, 30 pp. Théo van Rysselberghe 1962-1926, par G. Chabot - Catalogue restreint : Peintures [172 n°]. - Aquarelles, pastels et dessins [69 n°]. - Eaux-fortes [37 n°]. - Lithographies [8 n°]. - Sculptures [5 n°]. - Illustrations de livres [11 n°]. - ...‎

‎--- Plus d'informations sur le site archivesdunord.com‎

書籍販売業者の参照番号 : 1524

‎CHAMEROT & RENOUARD (Illustration) / CH. LORILLEUX & Cie., Paris (Encres) / [Société des Artistes français]; Librairie d'art Ludovic Baschet (Éditeur)‎

‎EXPOSITION DES BEAUX ARTS: CATALOGUE ILLUSTRÉ DE PEINTURE ET SCULPTURE [Dix-Sixième Année, du] SALON de 1894. / EXPOSITION DES BEAUX ARTS: CATALOGUE ILLUSTRÉ DE PEINTURE ET SCULPTURE [Dix-Septième Année, du] SALON de 1895. - 2 Volumes in 1.‎

‎Paris, Librairie d'art Ludovic Baschet, Éditeur; (1894/1895). 287 (1) / 284 pages, illustrated throughout (over 1.100 images). - Somewhat later black halfcloth-binding with decently coloured boards; 8vo.(ca. 21,5 x 15 x 3,5 cm; ca. 1 kg.).‎

‎*** FIRST EDITIONS OF THE TWO RARE ANNUAL CATALOGUES, CLOTHBOUND EDITION; depicting over 1.100 works and with detailed artist-indices. - Corners of the panels slightly rubbed; else in best condition.‎

書籍販売業者の参照番号 : 1912120846xpkv

‎CHAUVEAU, Sophie.‎

‎MANET - Le secret.‎

‎in-8°, 381 pages, broché, couverture illustrée en couleurs. Tres bel exemplaire. [DV-5]‎

‎CHOUVALOVA, Irina‎

‎Yann Chichkine. Peintre de la forêt russe.‎

‎1996 Editions Parkstone, Aurora, Collection "Grands peintres" - 1996 - In-4, cartonnage illustré, jaquette illustrée - sans pagination - Illustrations en couleurs hors-texte‎

‎Bon état‎

書籍販売業者の参照番号 : 110285

‎Cikovsky, Nicolai‎

‎Winslow Homer. Watercolors.‎

‎(New York), Hugh Lauter Levin, (1991). 120 S. Mit 16 s/w Textabb. u. zahlr. farbigen, meist ganzseitigen Abb. Quer-4to (30 x 42 cm). OLn m. illustr. Orig.-SU.‎

‎Winslow Homer [1836-1910]. - Zeigt eine Auswahl aus den über 700 Arbeiten umfassenden Aquarell-Werk: Arbeiten der frühen Jahre, Motive aus den im Nordosten Englands gelegenen Cullercoats, den Adirondacks und der Halbinsel Prouts Neck und schließlich Bilder, die bei Aufenthalten in den Tropen entstanden (u.a. Bermuda, Bahamas und Key West). - Sehr gutes, sauberes Exemplar‎

書籍販売業者の参照番号 : 68573

‎CIPRIANI Renata -‎

‎Impressionisti francesi.‎

‎Milano, Garzanti, (anni '50) 16mo brossura editoriale con copertina illustrata a colori, pp. nn. (60 circa) con una tavola in antiporta e 38 tavole in nero e a colori, anche ripiegate e a pagina doppia (Serie Arte Garzanti) .‎

‎CLAIRE DURAND-RUEL SNOLLAERTS, CHRISTOPHE DUVIVIER‎

‎CAMILLE PISSARRO. LE PREMIER DES IMPRESSIONNISTES‎

‎Catalogue de l'exposition présentée au Musée Marmottan, du 23 février au 2 juillet 2017. Première exposition monographique organisée à Paris depuis 36 ans.‎

‎Bon état général. Intérieur frais et agréable.‎

書籍販売業者の参照番号 : ART2505M

‎CLAUDON Francis - SERULLAZ Maurice - SERULLAZ Arlette‎

‎Le romantisme. L'impressionnisme (2 volumes)‎

‎Couverture souple. Broché. 304 et 287 pages.‎

‎Livre. Editions Somogy (Collection : Petite Encyclopédie), 1996.‎

書籍販売業者の参照番号 : 209180

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎A couple sitting on a bench enjoying the sunset.‎

‎o.J. Black chalk, surrounded by one line, on handmade paper, signed in blue ?Eliot Clark?, verso studio stamp. 22,2:28,9 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

書籍販売業者の参照番号 : 110-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎City landscape at night.‎

‎o.J. Black and white chalk, surrounded by one line, on green paper, signed ?Eliot Clark?, verso studio stamp. 19,3:20,7 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

書籍販売業者の参照番号 : 116-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Group of trees and bushes in mountains.‎

‎o.J. Black chalk, on brown paper, signed with pencil ?Eliot Clark?, verso studio stamp. 22,7:30 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

書籍販売業者の参照番号 : 095-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Hilly landscape and houses in winter.‎

‎o.J. Black and blue chalk, on brown paper, monogrammed 2EC?, verso studio stamp. 22,8:30,3 cm. ? Little damages in the margins.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

書籍販売業者の参照番号 : 111-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Hilly landscape with trees, in the foreground a brooke.‎

‎o.J. Black chalk, surround by one line, on brownish handmade paper, signed in blue ?Eliot Clark?, verso studio stamp. 22,5:29,3 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

書籍販売業者の参照番号 : 109-H