‎Collectibles‎

‎Louis ALTHUSSER‎

‎Lénine & la philosophie suivi de Marx & Lénine devant Hegel‎

‎Paris: Petite collection François Maspero 1972. Fine. Petite collection François Maspero Paris 1972 11 x 17.50 cm broché First edition of which there were no deluxe copies. Handsome copy. Fine signed autograph inscription from Louis Althusser: ""Pour Jean Kahn qu'il sache que j'estime plus que tout au monde le jugement d'un juriste : Marx aurait dû écrire : ""le droit et l'idéologie juridique continuent l'anatomie mot souligné de toute l'idéologie bourgeoise . Avec ma considération et mon amitié"" ""For Jean Kahn let him know that I value a jurist's judgment above all else in the world: Marx should have written: 'law and legal ideology continue the anatomy word underlined of all bourgeois ideology' . With my consideration and my friendship"". Petite collection François Maspero unknown‎

Référence libraire : 74242

‎Louis ALTHUSSER‎

‎Montesquieu. La politique et l'histoire‎

‎Paris: P.U.F. 1959. Fine. P.U.F. Paris 1959 12 x 18.50 cm broché The first edition of which there were no deluxe copies a Service de Presse advance copy. Spine very lightly sunned without significance and with two small tears at head and foot otherwise handsome copy. Signed and inscribed copy from Louis Althusser to Pierre Abraham. P.U.F. unknown‎

Référence libraire : 72067

‎Louis ALTHUSSER‎

‎Réponse à John Lewis‎

‎Paris: François Maspero 1973. Fine. François Maspero Paris 1973 11.50 x 20 cm broché The first edition of which there were no deluxe copies. Handsome copy. Signed autograph inscription from Louis Althusser to Monsieur Derché. François Maspero unknown‎

Référence libraire : 81658

‎Louis ANDRE‎

‎Camille Desmoulins‎

‎Paris: Charles Bayle 1890. Fine. Charles Bayle Paris 1890 10.50 x 16 cm relié First edition on current paper. Nice copy. Binding half shagreen red corners back with five nerves double gilded nets on the plates of marbled paper guards and contreplats of handmade paper gilded head Contemporary binding signed A. Lambert. Autograph dedication of Louis André to Madame Guibourg. Charles Bayle unknown‎

Référence libraire : 63552

‎Louis ANQUETIN‎

‎Académie d'homme 9. - Crayon sur papier‎

‎1900. Fine. Début XXème 23 x 36 cm Original pencil drawing. Signature stamp of the artist's signature in the lower right corner of the work and signature stamp of the studio on the verso. This drawing forms part of a series of ten studies created for Bertin around 1920-1925. It bears the artist's annotations ""Cou - Type & divers."" The verso is also annotated by the artist: he explains here in the form of quick notes the difference between Modern Painting and Ancient Painting. Two tiny marginal lacks a small tear at head 1 cm otherwise very fine condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he was the inventor of Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a lengthy confrontation with the ""old masters"" he adopted a pictorial stance that would put him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigor he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" that was embodied in the memory of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental Anquetin proved prolific through his numerous studies and sketches he who considered drawing to be ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against the grain of his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and his passion for painting he indeed prevented the path of the great Western tradition from being totally blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in St. Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25710

‎Louis ANQUETIN‎

‎Académie d'homme 4 - Encre sur papier‎

‎1900. Fine. Début XXème 20 x 31 cm ANQUETIN Louis Académie d'homme 4 Ink on paper Early 20th century 20 x 31 cm. Original ink drawing. Signed with the artist's signature stamp in the lower right corner of the work and signed with the workshop's stamp on the back. This drawing is part of a series of ten studies completed for Bertin around 1920-1925. Very good condition. Provenance: artist's workshop referenced in the Atelier Louis Anquetin catalogue Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. He is the inventor with Émile Bernard of Cloisonnism. From 1884 to 1893 Louis Anquetin never stopped exploring the new possibilities that the freedom of Impressionism brought to French painting. From 1893 following a long confrontation with the “maîtres d'autrefois” “masters of the past” he adopted a pictorial bias which would put him on the fringes of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigour he then thought that his childhood friends were taking a path that would lead to the death of painting. He believes in a “peinture parfaite” “perfect painting” which is embodied in the re-remembering of Michelangelo and Rubens' lessons in particular. His work therefore becomes more classic; he advocates the return to the profession by proposing to reflect on the a priori conditions of any possible form of art in accordance with the rules of perspective and anatomy as practised by the masters of the 16th and 17th century. Leaving only a few works that can be described as monumental Anquetin proves to be prolific as a result of his many studies and sketches; he who considered that drawing was “un moyen d'expression tout puissant” “an all powerful means of expression” the obligatory foundation of all fine art. By working voluntarily in reverse of his time Louis Anquetin made the existance of an original modern portrayal possible. Through his persistance and his passion for painting he indeed prevented the path of the great western tradition from being completely sealed. His works can be admired in many prestigious museums such as the Musée d'Orsay or the Louvre in Paris in San Francisco or in Detroit in the State Hermitage Museum in St Petersburg in the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25705

‎Louis ANQUETIN‎

‎Académie d'homme 2.‎

‎1900. Fine. Début XXème 31 x 20 cm Original pencil drawing heightened with ink mixed technique. Artist's signature stamp in the lower right corner of the work and studio stamp signature on verso. This drawing is part of a series of ten studies created for Bertin around 1920-1925. Very fine condition. Provenance: from the artist's studio referenced in the Louis Anquetin Studio catalogue Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he was the inventor of Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a long confrontation with the ""masters of the past"" he adopted a pictorial stance that would put him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor he then believed that his youthful friends had engaged in a path that would lead to the death of painting. He believed in a ""perfect painting"" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental Anquetin proved prolific through his numerous studies and sketches he who considered drawing to be ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against the grain of his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being totally blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and Tate in London etc. unknown‎

Référence libraire : 25702

‎Louis ANQUETIN‎

‎Académie d'homme 10.‎

‎1900. Fine. Début XXème 10 x 16 cm Original drawing in ink and wash. Signature stamp of the artist's signature in the lower right corner of the work and signature stamp of the studio on the verso. This drawing forms part of a series of ten studies created for Bertin around 1920-1925. Very fine condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he was the inventor of Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a lengthy confrontation with the ""old masters"" he adopted a pictorial stance that would put him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigor he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" that was embodied in the memory of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental Anquetin proved prolific through his numerous studies and sketches he who considered drawing to be ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against the grain of his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and his passion for painting he indeed prevented the path of the great Western tradition from being totally blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in St. Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25711

‎Louis ANQUETIN‎

‎Académie d'homme 7‎

‎1900. Fine. Début XXème 20 x 31 cm Original drawing in pencil ink and wash. Artist's signature stamp in the lower right corner of the work and atelier stamp signature on verso. This drawing forms part of a series of ten studies created for Bertin circa 1920-1925. Excellent condition. Provenance: from the artist's atelier referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he invented Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a lengthy confrontation with the ""masters of old"" he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor he believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" embodied in remembering the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craft proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. While leaving only a few works that can be qualified as monumental Anquetin proved prolific through his numerous studies and sketches he who considered drawing to be ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being totally blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25708

‎Louis ANQUETIN‎

‎Cochon : Étude 5 - Crayon sur papier‎

‎1899. Fine. Fin XIXème - Début XXème 20 x 31 cm Original pencil drawing. Artist's signature stamp in the lower right corner of the work and studio stamp signature on the verso. Manuscript notes by the artist commenting on the drawing. Very fine condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he invented Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a lengthy confrontation with the ""masters of old"" he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental Anquetin proved prolific through his numerous studies and sketches he who considered that drawing was ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against the grain of his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being totally obscured. His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25694

‎Louis ANQUETIN‎

‎Cochon suspendu par les pieds - Encre sur papier‎

‎1899. Fine. Fin XIXème - Début XXème 11 x 17 cm Original ink. Artist's signature stamp in the upper right corner of the work and studio stamp signature on verso. Light shadow affecting the upper part of the paper otherwise very fine condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he invented Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a long confrontation with the ""old masters"" he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor he then believed that his childhood friends had embarked on a path that would lead to the death of painting. He believed in ""perfect painting"" embodied in the remembrance of the lessons of Michelangelo and Rubens among others. His work therefore became more classical; he advocated a return to craft proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental Anquetin proved prolific through his numerous studies and sketches he who considered drawing to be ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By working deliberately against his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being completely blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25689

‎Louis ANQUETIN‎

‎Coqs : Étude 8. - Crayon sur papier‎

‎1913. Fine. Début XXème 18.50 x 20 cm Original pencil drawing mounted on card. Artist's stamp signature in the lower right corner of the work and workshop stamp signature on verso. Very fine condition. Provenance: from the artist's workshop referenced in the Louis Anquetin Workshop catalogue Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he was the inventor of Cloisonnism. From 1884 to 1893 Louis Anquetin constantly explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a long confrontation with the ""old masters"" he adopted a pictorial approach that would put him on the margins of the general movement in art and distance him from his friends. Dazzled by Baroque art and its creative vigour he believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" that was embodied in the memory of the lessons of Michelangelo and Rubens in particular. His work thus became more classical advocating a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental Anquetin proved prolific through his numerous studies and sketches he who considered that drawing was ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against his time Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and his passion for painting he indeed prevented the path of the great Western tradition from being totally obscured. His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25793

‎Louis ANQUETIN‎

‎Duel : Étude 3 - Crayon sur papier‎

‎1899. Fine. Fin XIXème - Début XXème 25 x 16.25 cm Original pencil drawing. Signed with the artist's signature stamp in the lower right corner of the work. Very fine condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he was the inventor of Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a long confrontation with the ""old masters"" he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor he believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" embodied in the memory of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental Anquetin proved prolific through his numerous studies and sketches he who considered that drawing was ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against his time Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being totally blocked. His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25662

‎Louis ANQUETIN‎

‎Duel : Étude 1‎

‎1899. Fine. Fin XIXème - Début XXème 25 x 16.25 cm Original charcoal drawing. Artist's signature stamp in the lower right corner of the work and studio stamp signature on verso. Excellent condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he was the inventor of Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a long confrontation with the ""old masters"" he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor he then believed that his childhood friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" embodied in the remembrance of lessons from Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental Anquetin proved prolific through his numerous studies and sketches he who considered drawing to be ""an all-powerful means of expression"" the mandatory foundation of all plastic arts. By deliberately working against his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being completely blocked. His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in St. Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25659

‎Louis ANQUETIN‎

‎Etude de chiens - Crayon sur papier‎

‎1899. Fine. Fin XIXème - Début XXème 26.50 x 20.50 cm Original pencil drawing. Artist's signature stamp in the lower right corner of the work and studio stamp signature on verso. Central fold mark small central tear very slightly affecting the drawing 3 cm otherwise very fine condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he invented Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a long confrontation with the ""old masters"" he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor he then believed that his childhood friends had embarked on a path that would lead to the death of painting. He believed in ""perfect painting"" embodied in the remembrance of the lessons of Michelangelo and Rubens among others. His work therefore became more classical; he advocated a return to craft proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental Anquetin proved prolific through his numerous studies and sketches he who considered drawing to be ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By working deliberately against his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being completely blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25687

‎Louis ANQUETIN‎

‎Faune 1 - Crayon sur papier‎

‎1896. Fine. Circa 1896 17.50 x 12.50 cm Original pencil drawing. Artist's signature stamp in the lower right corner of the work and studio stamp signature on verso. A central fold mark otherwise very fine condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he invented Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a lengthy confrontation with the ""masters of old"" he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental Anquetin proved prolific through his numerous studies and sketches he who considered that drawing was ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being completely blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25715

‎Louis ANQUETIN‎

‎Faune 4 étude de tête de femme - Crayon sur papier‎

‎1896. Fine. Circa 1896 21 x 32 cm Original pencil drawing. Signed with the artist's signature stamp in the lower right corner of the work and signed with the studio stamp on the verso. Very fine condition. Provenance: from the artist's studio referenced in the Louis Anquetin Studio catalogue Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh or Henri de Toulouse-Lautrec. With Émile Bernard he invented Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a long confrontation with the ""old masters"" he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigour he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental Anquetin proved prolific through his numerous studies and sketches he who considered that drawing was ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against his time Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being totally blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay or the Louvre in Paris in San Francisco or Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25719

‎Louis ANQUETIN‎

‎Fête villageoise - étude pour le bal champêtre‎

‎1899. Fine. Fin XIXème - Début XXème 22 x 15.50 cm ANQUETIN Louis Fête villageoise - étude pour le bal champêtre Pencil on paper Late 19th - Early 20th century 22 x 15.5 cm. Original pencil drawing presented under a two-colour marie-louise frame. Signed with the artist's signature stamp in the lower right corner of the work and signed with the workshop's stamp on the back. A minor tear in the left margin. Very good condition. Provenance: artist's workshop referenced in the Atelier Louis Anquetin catalogue Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. He is the inventor with Émile Bernard of Cloisonnism. From 1884 to 1893 Louis Anquetin never stopped exploring the new possibilities that the freedom of Impressionism brought to French painting. From 1893 following a long confrontation with the “maîtres d'autrefois” “masters of the past” he adopted a pictorial bias which would put him on the fringes of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigour he then thought that his childhood friends were taking a path that would lead to the death of painting. He believes in a “peinture parfaite” “perfect painting” which is embodied in the re-remembering of Michelangelo and Rubens' lessons in particular. His work therefore becomes more classic; he advocates the return to the profession by proposing to reflect on the a priori conditions of any possible form of art in accordance with the rules of perspective and anatomy as practised by the masters of the 16th and 17th century. Leaving only a few works that can be described as monumental Anquetin proves to be prolific as a result of his many studies and sketches; he who considered that drawing was “un moyen d'expression tout puissant” “an all powerful means of expression” the obligatory foundation of all fine art. By working voluntarily in reverse of his time Louis Anquetin made the existance of an original modern portrayal possible. Through his persistance and his passion for painting he indeed prevented the path of the great western tradition from being completely sealed. His works can be admired in many prestigious museums such as the Musée d'Orsay or the Louvre in Paris in San Francisco or in Detroit in the State Hermitage Museum in St Petersburg in the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25805

‎Louis ANQUETIN‎

‎La Normandie : projet de carton pour la tapisserie de la manufacture des Gobelins. Étude 1 - Encre sur papier‎

‎1912. Fine. 1912-1913 17 x 12.50 cm Original ink drawing. Artist's signature stamp in the lower right corner of the work and workshop stamp signature on the verso. Louis Anquetin through his friendship with art critic Gustave Geoffroy who was appointed administrator of the Manufactures Nationales obtained three commissions for cartoons for the Gobelins ""Bourgogne"" in 1911 a carpet ""Les cygnes"" and in 1912 ""La Normandie"" tapestry. A central fold mark with a tiny tear at foot otherwise very fine condition. Provenance: from the artist's workshop referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh or Henri de Toulouse-Lautrec. With Émile Bernard he invented Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a long confrontation with the ""masters of the past"" he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor he then thought that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental Anquetin proved prolific through his numerous studies and sketches he who considered drawing to be ""an all-powerful means of expression"" the mandatory foundation of all plastic arts. By deliberately working against his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being totally obstructed. His works can be admired in numerous prestigious museums such as the Musée d'Orsay or the Louvre in Paris in San Francisco or Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25721

‎Louis ANQUETIN‎

‎La Normandie : projet de carton pour la tapisserie de la manufacture des Gobelins. Étude 8 - Encre sur papier‎

‎1912. Fine. 1912-1913 13.50 x 9.50 cm Original ink drawing with several ink sketches on the verso on a sheet folded in half. Stamp signature of the artist in the lower right corner of the work and workshop stamp signature on the verso. Louis Anquetin thanks to his friendship with art critic Gustave Geoffroy who was appointed administrator of the National Manufactories obtained three commissions for cartoons for the Gobelins ""Bourgogne"" in 1911 a carpet ""Les cygnes"" and in 1912 ""La Normandie"" tapestry. Very fine condition. Provenance: artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he was the inventor of Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 following a long confrontation with the ""masters of the past"" he adopted a pictorial stance that would put him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor he then thought that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art in respect of the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental Anquetin proved prolific through his numerous studies and sketches he who considered that drawing was ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against his time Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being totally blocked. His works can be admired in numerous and prestigious museums such as the Musée d'Orsay or the Louvre in Paris in San Francisco or Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and Tate in London etc. unknown‎

Référence libraire : 25728

‎Louis ANQUETIN‎

‎La Victoire : étude pour la tapisserie de Beauvais. Étude 2 - Crayon sur papier‎

‎1918. Fine. Début XXème 18 x 23 cm Original pencil drawing. Series of eight sketches. Artist's signature stamp in the lower right corner of the work and studio stamp signature on verso. Manuscript notes by the artist ""Donnez à la semeuse l'éternelle. Semez semez"" ""Give to the sower the eternal one. Sow sow"". Very fine condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he invented Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 following a long confrontation with the ""masters of the past"" he adopted a pictorial stance that would place him on the margins of the general movement in art and distance him from his friends. Dazzled by Baroque art and its creative vigor he believed that his childhood friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that could be described as monumental Anquetin proved prolific through his numerous studies and sketches he who considered drawing to be ""an all-powerful means of expression"" the necessary foundation of all plastic arts. By deliberately working against the grain of his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being completely blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25747

‎Louis ANQUETIN‎

‎La Victoire : étude pour la tapisserie de Beauvais. Étude 3 - Crayon sur papier‎

‎1918. Fine. Début XXème 23 x 36 cm Original pencil drawing. On the verso two sketches of dresses accompanied by handwritten explanatory notes by the artist and a sketch of a church. Stamped signature of the artist in the lower right corner of the work and studio stamp signature on the verso. Very fine condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he was the inventor of Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a long confrontation with the ""old masters"" he adopted a pictorial approach that would place him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigor he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental Anquetin proved prolific through his numerous studies and sketches he who considered that drawing was ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the path of the great Western tradition from being totally obstructed. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25749

‎Louis ANQUETIN‎

‎Nu masculin de dos • A male nude from the back‎

‎1899. Fine. Fin XIXème - Début XXème 21 x 27 cm A male nude from the back Pencil on paper Late 19th – Early 20th century 21 x 27 cm 31 x 47 cm with mount one drawing Original pencil drawing mounted on guards. Artist's signature stamp and monogram stamp in the lower right corner of the work; artist studio's stamp on the back. Handwritten note on the back in pencil of the paper the title and the date: 1895. Light signs of foxing on the left border without affecting the drawing otherwise in very good condition. Provenance: artist's workshop referenced in the Atelier Louis Anquetin catalogue Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. He is the inventor with Émile Bernard of Cloisonnism. From 1884 to 1893 Louis Anquetin never stopped exploring the new possibilities that the freedom of Impressionism brought to French painting. From 1893 following a long confrontation with the “maîtres d'autrefois” “masters of the past” he adopted a pictorial bias which would put him on the fringes of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigour he then thought that his childhood friends were taking a path that would lead to the death of painting. He believes in a “peinture parfaite” “perfect painting” which is embodied in the re-remembering of Michelangelo and Rubens' lessons in particular. His work therefore becomes more classic; he advocates the return to the profession by proposing to reflect on the a priori conditions of any possible form of art in accordance with the rules of perspective and anatomy as practised by the masters of the 16th and 17th century. Leaving only a few works that can be described as monumental Anquetin proves to be prolific as a result of his many studies and sketches; he who considered that drawing was “un moyen d'expression tout puissant” “an all powerful means of expression” the obligatory foundation of all fine art. By working voluntarily in reverse of his time Louis Anquetin made the existance of an original modern portrayal possible. Through his persistance and his passion for painting he indeed prevented the path of the great western tradition from being completely sealed. His works can be admired in many prestigious museums such as the Musée d'Orsay or the Louvre in Paris in San Francisco or in Detroit in the State Hermitage Museum in St Petersburg in the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25816

‎Louis ANQUETIN‎

‎Portraits 3 - Crayon sur papier‎

‎1899. Fine. Fin XIXème - Début XXème 22 x 14 cm Original pencil drawing. Artist's signature stamp in the lower right corner of the work and workshop stamp signature on verso. Minor dampstain in the lower left corner otherwise very fine condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he invented Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a lengthy confrontation with the ""masters of the past"" he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental Anquetin proved prolific through his numerous studies and sketches he who considered drawing to be ""an all-powerful means of expression"" the obligatory foundation of all plastic arts. By deliberately working against the grain of his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he indeed prevented the complete obstruction of the path of the great Western tradition. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25800

‎Louis ANQUETIN‎

‎Poules : Étude 1‎

‎1899. Fine. Fin XIXème - Début XXème 20 x 31 cm Original pencil drawing heightened with watercolour. Artist's signature stamp in the lower right corner of the work and studio stamp signature on verso. Very fine condition. Provenance: from the artist's studio referenced in the catalogue Atelier Louis Anquetin Thierry de Maigret 28/11/08. Louis Anquetin born in Étrépagny in 1861 and died in Paris in 1932 was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard he invented Cloisonnism. From 1884 to 1893 Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards following a lengthy confrontation with the ""masters of former times"" he adopted a pictorial approach that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigour he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a ""perfect painting"" embodied in the remembered lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practised by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental Anquetin proved prolific through his numerous studies and sketches he who considered drawing to be ""an all-powerful means of expression"" the necessary foundation of all plastic arts. By deliberately working against his era Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting he prevented the path of the great Western tradition from being completely blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris in San Francisco and Detroit at the Hermitage Museum in Saint Petersburg at the National Gallery and the Tate in London etc. unknown‎

Référence libraire : 25777