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[TABLEAU PERDU DE DAVID]
Décret de la Convention nationale, relatif au don fait par David, d'un tableau représentant Michel Lepelletier sur son lit de mort. du 29 mars 1793, l'an second de la République française
À Orléans, chez Jacob l'Aîné, s.d. (1793) in-4, 2 pp., dérelié.
Référence libraire : 161900
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[TAYLOR (Julian)].
Julian Taylor de métamorphose en métamorphose.
P., Galerie 26, 2001 ; in-4 (32 x 24 cm). 2ff.-128pp.-1f. Cartonnage illustré en couleurs de l'éditeur, sous étui illustré. Parfait état.
Référence libraire : 8498
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[TAULÉ (Antoni)], NEY D'ELCHINGEN (Laetitia)
Nox de Antoni Taulé peintures de 1976 à 1997
Paris, éditions galerie Kiron, 1998. In-folio oblong, [84] ff., cartonnage éditeur original de toile grise (petits frottements, quelques petites taches éparses).
Référence libraire : 17341
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[TALLER]. - BERGALLO (Armando) et VILCHE (Hector).-
Taller. Amsterdam, 1963-1988.
La Hague, SDU Publishers, 1989, in 8° oblong broché, 112 pages ; très importante iconographie, en noir et en couleurs ; couverture illustrée en couleurs.
Référence libraire : 32508
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[TANGUY Yves] CARIOU André & al.
Yves Tanguy - L'univers surréaliste
Paris, Somogy éditions d'art / Quimper, Musée des Beaux-Arts / Barcelone, MNAC, 2007, 24,5 x 30,5, 223 pages sous percaline éditeur et jaquette illustrée. Iconographie noir & blanc et couleurs. Catalogue publié à l'occasion de l'exposition présentée au Musée des Beaux-Arts de Quimper ainsi qu'au Musée National d'Art de Barcelone.
Référence libraire : PEINTUREEEE6400331224
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[TANGUY (Yves)].-
Yves Tanguy. Rétrospective, 1925-1955.
1982 Paris, Centre Pompidou, 1982, in 4° broché, 239 pages ; nombreuses reproductions en noir et en couleurs ; couverture illustrée.
Référence libraire : 81487
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[TAEUBER-ARP] - STABER (Margit)
Sophie Taeuber-Arp.
In-8 carré, 128p. Illustré de nombreuses reproductions en noir et en couleurs.
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[TANI, Buncho]. [A Tribute Painting]
GATHERING OF LITERATI SCHOLARS AND PAINTERS: Painted in the Nanga Style
Japan ca. 1800. Kakemono hanging scroll: size 66.4 x 1m.26 painting size: 54.5 x 41.7 cm. an excellent example brush signed by the artist with his red Hanko seal beautifully mounted on brocade silk DeLuxe size. A RARE EXAMPLE . . . . AN EXCEPTIONALLY FINE ORIGINAL PAINTED SCROLL . . . A TRIBUTE TO TANI BUNCHO . . . JAPAN'S MOST CELEBRATED PAINTER . . . CONSIDERED ONE OF JAPAN'S BEST 10 ARTISTS OF ALL TIME . . A TRIBUTE TO THE ARTIST TOSA Mitsunari 1646-1710: This painting is a later tribute to Tani Bucho. . WHO WAS TANI BUNCHO PAINTER & POET 1763-1840: Buncho was a Japanese painter who founded an eclectic school influenced by Chinese Japanese and Western styles. . Buncho was an the most famous of Japan's Bunjin literati painters and poets of the late 18th and early 19th centuries. . He was the son of the respected Samurai-poet TANI Rokkoku 1729-1809 retainers to the Tayasu family descendents of the Tokugawa Shogun. . ARTISTIC STUDY: Bunsho first studied first with under KATO Bunrei 1706-82 a master of the Kano school stressing Chinese themes & techniques. After Bunrei's death Buncho worked with school masters such literati painter KITAYAMA Kangen 1767-1801 where he developed a broad stylistic range. He continued with a painter of the Hoku-ga or Northern school of Chinese art. . He was also influenced by Nan-ga The Southern school of Chinese art also known in Japanese as the Bunjin-ga or "Literati Painting" as well as of Yamato-e traditional Japanese paintings of scenes from daily life. He founded a new school of painting called "Nanboku Goitsu" or "The South and East school" and he introduced the use of Western perspective a technique further refined by his most famous pupil Watanabe Kazan. . His technique was outstanding and his knowledge of Chinese Japanese and European art had a major influence on him. Extracted from Encyclopedia Britannica see below. . . BUNCHO'S STYLES OF PAINTING: Buncho is best known for his literati style "Nanga" a a Japanese interpretation of Chinese paintings. And "Bunjin-ga" or literati idealized landscapes. Unlike other contemporary "Bunjin-ga" painters Buncho was an exceptionally eclectic artist painting idealized Chinese landscapes our example Japanese examples based on real places and poetically-inspired traditional scenery. . PORTRAITS: He painted portraits of his contemporaries such as Ono Ranzan and Kimura Kenkado as well as imagined images of such famous Chinese literati and historic heroes as Su Shi and Tao Yuan-ming. . TRAVEL AND EXPOSURE: During his lifetime Buncho like all Japanese were not allowed to travel abroad being forbidden by the Tokugawa Shogunate. He did however spent many years traveling throughout Japan eventually going to Nagasaki. . NAGASAKI EXPOSURE TO CHINESE & DUTCH ART: In Nagasaki Bunsho saw Dutch imported Chinese classic painting manuals like the Ten Bamboo & Mustard Seed Garden. During his sojourn in Nagasaki he studied under a Chinese painter. While there His studied the "Nagasaki School" as well as "Dutch Painting" styles and was exposed to other imported European art works "You-Ga" were a major influence on his painting techniques and career. See Murase p.374 below. . HIS DISCIPLES: Watanabe Kazan Sakai Hoitsu and Takaku Aigai were among his disciples. One of his most famous pupils was the renowned painter Okuhara Seiko. Above liberally extracted & re-edited from Wikipedia see below. . "NANGA" OR LITERATI SCROLL SUBJECTS: . The subject portrays some of the typical literati-style "Yama to Mizu" "Mountains & Water" or "Shan-Sui" in Chinese stylized water & landscape features. Lovely examples of unique mountains waterfalls landscapes groups of scholars or literati Bunjin/intellectuals at their favorite pastimes. . The Literati are reading writing poetry painting carrying books & scrolls discussing arguing debating the literary and salient artistic points. . The top of the scroll painting begins with some very lovely and attractive mountains with evergreen trees. There is also a fast downward flowing river which originates behind the upper-most green and brown mountains. . At the upper right is a waterfall which creates its own tributary river joining the larger river flow. Along the shores on both sides are groups of literati. They are engaged in reading writing poems reflecting inspired by the stunning landscape and lavish scenery. . There is a small pavilion on the right shore adjacent to a forest with lush-green trees. In the pavilion appears a grand-master literati seated before his writing desk with ink stone brush and paper at the ready. He is accompanied by two attendants in the background and a young child carrying a bowl of food. He has an excellent view of the other scholars on both sides of the river and the activities of other groups just below him. . The small groups of scholars and literati are reading recitations writing or discussing. Some carry books tied by silken cords suspended over their shoulders. Most all are engaged in some form of artistic or literary activity some carry books and scrolls. . At the bottom left where the artist's brushed signature and red cinnabar Hanko seal/chop appears there is a small bridge over the river. A young disciple carries a long paper rolled into a scroll just behind two elder scholars and literate who are about to cross the bridge. Above them are some pairs of literati pouring over scrolls large papers and blue-bound books. Nearby above them is a young disciple who carries two large sets of similar blue-bound books in cases over his shoulder tied with a white silk cloth. He attends to the two elder literati above and to his right. They also carry identical blue-bound sets of books. . Above this young disciple noted above we see other groups of young disciples attending the elder literati to their rear. These young people also carry more books a red bound text and his companion a brown bound book. . The painting shows a lively and large group of scholars and literati with their disciples and attendants at what appears to be an extraordinary grand yet unnamed meeting and celebration. The majority of the those present are actively engaged in literary or artistic activities. . Though there is no text the visual graphic messages convey the story the artist created. . Scholars and painters have come together to create write share discuss and argue the finer points of poetry literature and paintings. Although we can not find or read any of the creations held in member hands based on the stunning landscape and festive mood on the faces of the participants one can assume the reason for this gathering is to share their thoughts & compositions with their community. . THE MEANING OF THE GATHERING OF SCHOLARS & PAINTERS IS REVEALED: A fascinating and illuminating article reveals who the people are in this scroll painting. . Per the above please see Paget's article citation below where she talks about "Buncho's circle." . She states: ".collaborative works and other objects give intimations of the creative exchange and gregarious atmosphere of Bunchos extensive circle which encompassed such cultural luminaries as Sakai Hoitsu 1761-1828 Kameda Bosai 1752-1826 and Kimura Kenkado 1736-1802" all of whom were part of his "extensive circle." . From this article we can derive the meaning of our painting which clearly represents the "creative exchange and gregarious atmosphere of Bunchos extensive circle." His "extensive circle.with "cultural luminaries" that he thought worthy of executing "collaborative works" with. Who would challenge this idea given the large number of "cultural luminaries" portrayed in this painting. . We can firmly understand who the large numbers of literati were. They are his colleagues his "cultural luminaries" and "collaborators" who shared in the production of some of his paintings. In this painting Buncho faithfully and expertly illustrates his respect for and to honor to his fellow "master painters" from his "extensive circle" and "Bunjin" genre. . SIZE AND FORMAT: DELUX GRAND SIZE PAINTING: . This is an extraordinary wide and long hand-painted Kakejiku hanging scroll in full vivid color. . The scroll overall is 1 m. 2 cm. wide. The painting is 87 cm. wide. . The length of the entire scroll is 2 m. 26 cm. long. The painting is 1 m. 69.2 cm. long. . THE ELEGANT & STUNNING SCROLL MOUNTING: . SKILLED WORK OF A MASTER HYOGUSHI: . The work is superbly elegantly and lavishly mounted by a master Hyogushi a scroll maker using the finest contemporary materials of the highest quality. . Stunning contemporary period gold-brocade silk is used at the top sides and bottom. Use of this extravagant and superbly elegant high-quality silk is indicative of very important and high-value painting. This use of lavish embroideries and materials show appropriate respect and honor to TANI Buncho's painting. . Gold-silk textiles of this high quality and caliber were hand-woven and took great skill to create. . The scroll ends Jiku are "Zogejiku" or ivory of the highest quality. . Add to the above the use of a great and skilled master Hyogushi to mount all of the precious materials. This results in a stunningly beautiful elegant and marvelous mounting. The mounting combines with the superb painting to celebrate the master work by the celebrated TANI Buncho. . CONDITION: The Painting: The painting is in excellent condition with lively colors and no damage or issues. There is a small scratch just near the signature and artist's seal. Otherwise an excellent example. The verso remains clean without mark or issues. . The Kakejiku or Hanging Scroll Mounting: The gold-silk brocade is original and has some of the usual surface rubbing. The lower cloth at the bottom by the "Jiku" lower roll hinge has some wear and is restored from the verso. There is also a bit of wear to a small place that covers part of the Jiku where there are loose threads. There are no other major issues which detract greatly from the mounting. . KIRI BAKO: THE CRYPTOMERIA PAULOWNIA WOOD CUSTOM BOX: This Kakejiku is contained in a lovely Kiri box with black lacquered edges on the top. The box is nicely intact and in very good to excellent condition. There are a few of the usual very minor bumps dings and other colorless marks typical of the attrition to such soft-wood boxes from a bygone era. . It has two typical convex cradles to hold the Jiku scroll ends at each end. The cover closes tightly omitting air and insects. The scroll has been housed in its container since 1952. The box has properly protected the contents for which it was designed. . The age of the box is difficult to determine it has bamboo pegs instead of metal nails which again is typical of Kiri boxes from early periods. The top lid/cover has no artist or title brushed on it and likewise the "Gedai" exterior scroll author/title slip does not indicate a title or artist. An educated guess is the box was made about 1850-1900. . PRECIOUS PROTECTION: It has been a Japanese custom for centuries to place precious objects of all varieties in Kiri boxes. Because of Japan's sultry and high-humidity weather in addition to a large number of paper-loving insects Kiri Bako has protected vulnerable items like silk clothing paper books paintings scrolls and others from the ravages and attrition rate. Items of innate value were and are still placed in Kiri Bako. . REFERENCES: . TODA Kenji.: DESCRIPTIVE CATALOGUE OF JAPANESE AND CHINESE ILLUSTRATED BOOKS IN THE RYERSON LIBRARY OF THE ART INSTITUTE OF CHICAGO p.292-393 for an excellent biography. ROBERTS Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING SCULPTURE CERAMICS PRINTS LACQUER p.10. He states: of Tani Buncho: "One of the most important painters of his period with a tremendous influence on his contemporaries." Buncho is exceptionally well-collected by world museums Brenda G. Jordan: ed. et al. : COPYING THE MASTER AND STEALING HIS SECRETS: Talent and Training in Japanese Painting. University of Hawaii Press pp.47 116-118. Co-editor was Victoria Weston.6 Murase Miyeko.: BRIDGE OF DREAMS: The Mary Griggs Burke Collection of Japanese art. A catalog from The Metropolitan Museum of Art Libraries. Contains material on Tani Buncho see pp.113 310 314 374. Page 405 shows a Tani Buncho signature and seal exhibit 168. Available on line: http://libmma.contentdm.oclc.org. KOYANO Masako.: JAPANESE SCROLL PAINTINGS:A Handbook of Mounting Techniques. MITCHELL C.H. et al.: THE ILLUSTRATED BOOKS OF THE NANGA MARUYAMA SHIJO AND OTHER RELATED SCHOOLS OF JAPAN: A Bibliography Tani Buncho: pp.21-22. Per Mitchell p21: "He Buncho considered by some as throne of the ten greatest painters of Japan of all time." . BUNCHO was also a woodblock printed book illustrator Ehon for a copious list of his title see Mitchell pp.23-24 Christine Guth.: ART OF EDO JAPAN. Yale University Press 1996 Timon Screech.: OBTAINING IMAGES. University of Hawaii Press 2012 pp.124 317-319. Frank L. Chance.: "Tani Buncho and the Edo School of Japanese Painting" Ph.D. Dissertation University of Washington 1986. Rhinnon PAGET.: THE DIFFERENT BRUSH STROKES OF TANI BUNCHO. Japan Times article: http://www.japantimes.co.jp/culture/2013/07/17/arts/the-diff erent-brush-strokes-of-tani-buncho/#.V5lCpLaANBc SUNTORY MUSEUM OF ART. "Tani Buncho: Commemorating the 250th Anniversary of his Birth." 2013. www.suntory.com/sma TANI BUNCHO: https://en.wikipedia.org/wiki/Tani_Bunch%C5%8D . //www.britannica.com/biography/Tani-Buncho . hardcover
Référence libraire : 36047501
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[TELEMAQUE (Hervé)] - FRANQUI (Carlos).-
Haiti : Hervé Télémaque.
Barcelona, Galeria Joan Prats, 1977, in 8° carré relié pleine toile grège de l'éditeur, 104 pages ; traces de scotch.
Référence libraire : 49130
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[TENA Consuelo Luca de et MENA Manuela].
La clé du Prado.S.l., Silex, 1982. In-8° broché.
Référence libraire : EXE00bBS
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[TEMOIGNAGE] VOLLERIN Alain
Le groupe Témoignage de Lyon
Lyon, Editions Mémoire des Arts, "Groupes et mouvements", 2001, 21,5 x 21,5, 116 pages cousues sous couverture rempliée illustrée. Iconographie noir & blanc et couleurs. BILINGUE français-anglais. "Le galeriste et poète Marcel Michaud fut un passeur d'idées qui joua un rôle clef pour la reconnaissance de notre patrimoine artistique en Rhône-Alpes et à Paris. Ecoutons le définir l'état d'esprit de ses amis du Groupe Témoignage de Lyon : "Tous ces artistes pensaient qu'après les révolutions et les apports impressionnistes, cubistes et surréalistes, on ne pouvait plus revenir uniquement à la peinture de chevalet, de divertissement pictural et sensuel, mais qu'on devait s'efforcer de retrouver le mur, la collaboration avec l'architecture et s'élever, comme au Moyen Age, au Sacré et au Social. Pour cette raison, plusieurs de ces artistes reprirent les métiers d'art qui correspondent à l'exigence du mur : fresques, vitraux, tapisseries, et ils furent les premiers à le faire". Il faut retenir du Groupe Témoignage de Lyon la force de l'idéal d'une jeunesse en complet décalage avec une ville de province engoncée dans ses brouillards. Si elle ne parvint jamais à combler l'immense espace entre sa province originelle et Paris, miroir de ses vastes espérances, elle fit une trajectoire qui donna de l'ampleur à ce mouvement né entre Rhône et Saône. La passion avec laquelle, à Paris, comme à Lyon, ces jeunes talents affrontèrent leur époque, ses propositions et ses contradictions, restera exemplaire pour les générations à venir."
Référence libraire : PEINTLYON611150620324
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[TERRA (Daniel J.)].-
Regard sur cinq années d'expositions. Five years of Exhibitions at a Glance. A la mémoire de Daniel J. Terra, 1911-1996. Dedicated to the memory of Daniel J. Terre, 1911-1996.
Giverny, Musée d'Art Américain, 1997, grand in 8° carré broché, 119 pages ; illustrations en couleurs.
Référence libraire : 32640
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[TERRA (Daniel J.)] - REYMOND (Nathalie).-
Un regard américain sur Paris. An American Glance at Paris. 37 oeuvres de la Fondation Terra pour les Arts. 37 works belonging to Terra Foundation for the Arts.
Giverny, Musée d'Art Américain, 1997, grand in 8° carré broché, 109 pages ; index des noms ; illustrations en couleurs.
Référence libraire : 32639
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[TERECHKOVITCH] - CRESPELLE (J.-P.)
Terechkovitch.
Gr. In-4, 78p. Exemplaire du tirage ordinaire. Illustré de 61 planches hors texte en noir et en couleurs et de 2 lithographies originales. Bel exemplaire.
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[TERECHKOVITCH] - CRESPELLE (J.-P.)
Terechkovitch.
Gr. In-4, 78p. Edition numérotée 1/120 exemplaires dits de chapelle. Illustré de 61 planches hors texte en noir et en couleurs et de 2 lithographies originales. Bel exemplaire.
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[TERECHKOVITCH] - GAUTHIER (Maximilien)
Constantin Térechkovitch.
In-8, 16p. Avec une cinquantaine de reproductions en noir et en couleurs hors texte. En parfaite condition.
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[THEATRE] - PARMELIN (Hélène).-
Cinq peintres et le théatre. décors et dostumes de LEGER, COUTAUD, GISCHIA, LABISSE, PIGNON.
P., cercle d'Art, 1956, in 4°, cartonnage illustré de l'éditeur, 153 pages ; infimes frottis.
Référence libraire : 69363
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[THIOLLIER (Noël).-
Une vente de tableaux de maîtres à Paris en 1710. Mémoire lu à la réunion des Sociétés des Beaux Arts des départements tenue à Paris, le 24 mai 1899.
Plaquette in 8° brochée, 4 pages.
Référence libraire : 83506
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[THOME DE GAMOND (Louis-Joseph-Aimé)]
Vie de David. par A. Th***
Paris, chez les Marchands de Nouveautés, 1826 in-8, 168 pp., demi-percaline verte (reliure de l'époque). Reliure modeste. Quelques salissures en marge sur les premières pages sans atteinte au texte.
Référence libraire : 204464
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[TINTORET] - FOSCA (François).-
Tintoret.
P., Albin Michel (Collection "Les Maitres du Moyen Age et de la Renaissance"), 1929, fort in 4° relié plein skyvertex marron, dos à faux nerfs, 177 pages de texte suivies de 100 planches hors-texte ; des rousseurs.
Référence libraire : 20659
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[TITIEN] - BASCH (Victor)
Titien.
Gr. In-8, 301p. Nouvelle édition augmentée. Orné de 24 h-texte en noir. Bibliographie ne fin de volume
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[TORRES-GARCIA Joaquin] COLLECTIF
Joaquin Torres-Garcia, - Un monde construit
Paris, Hazan / Strasbourg, Les Musées de Strasbourg, 2002, 25 x 29, 255 pages sous cartonnage éditeur et jaquette illustrée. Iconographie noir & blanc et couleurs. Catalogue publié à l'occasion de l'exposition présentée au Musée du 24 mai au 8 septembre 2002.
Référence libraire : ARRRRTTTT500125
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[TOFFOLI] - GASCAR (Pierre)
Toffoli, ou la force du destin.
Paris, Chêne, 1984. In-4°, 125p. Reliure pleine toile d'éditeur, sous jaquette illustrée.
Référence libraire : 35424
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[TOFFOLI] - GASCAR (Pierre)
Toffoli, ou la force du destin.
In-4, 125p. Bonne monographie consacrée à Louis Toffoli, illustrée de nombreuses reproductions en noir et en couleurs. Exemplaire en parfaite condition.
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[TOSA, Mitsunari]. [A TRIBUTE PAINTING]
GENJI MONOGATARI KAKEJIKU: TALES OF GENJI PAINTED SCROLL. Kakejiku Or Hanging
Edo ca.1681-1669. Kakejiku or hanging scrolla very clean example artist signature & red Hanko sealpainted on fine silk 61 x 106 cm. mounted on fine gold silk-brocade ivory Jiku ends one small spot else excellent in Kiri box.RARE . . A TRIBUTE PAINTING TO TOSA MITSUNARI . . . VERTICLE KAKEMONO -A HANGING SCROLL . . . FINE EARLY EDO PERIOD PAINTING . . . A SCENE FROM GENJI MONOGATARI TALE OF GENJI . . This lovely painting shows a typical scene from the GENJI MONOGATARI Tale of Genji with courtly princes and ladies in waiting. . GENJI MONOGATARI is a classic of Japanese literature written by the noblewoman and lady-in-waiting Murasaki Shikibu in the early 11th century. It is called the world's first novel and written by a woman. It is considered a classic it illustrates unique depictions high courtiers lifestyles during the Heian period . A TRIBUTE TO THE ARTIST TOSA Mitsunari 1646-1710: This painting is a later tribute to Tosa Mitsunare painted in the Tosa School style of the orignal artist. . Tosa was also known as Mitsushige after becoming a Buddhist Monk he use the "Go" studio name Johsan alternately Johzan. . He was the son of Tosa Mitsuoki succeeding his father's official position served as Edokoro 'Azukari' from 1681-1696. Like his father he specialized in Tosa school painting he was an accomplished artist. Collected by world museums. See Roberts below. . THE DATE & SIGNATURE: The work is signed FUJIWARA Johsan Hitsu i.e. painted by below this is his Hanko seal or chop reading "Mitsunari" in red cinnabar. . The work is undated compared with another work by him held in the British Museum circa dated at 1681-1669 early Edo period. . At the right of the signature is a long inscription in Kanji Japanese characters reading his pedigree: . Ju Go I Ge: Official Rank of the Dynasty under Shogun Tokugawa Ietsuna 1641-1680 Tenth Grade From the Top. . Gyo Bu: Ministry of Justice. . Dai Bu: High Ranking Bureaucrat . Nyu Doh: Became a Buddhist priest monk . TOSA SCHOOL: Tosa Mitsunobu 1434-1525 established the "Tosa" school Tosa-ha of painting in the early Muromachi period 14th-15th centuries. It was devoted to Yamato-e Japanese style paintings specializing in subject matter and techniques derived from ancient Japanese art as opposed to schools influenced by Chinese art. Tosa school paintings are characterized by areas of flat opaque brilliant colour enclosed by simple outlines drawings are precise with great attention. . The Tosa school aratists painted for the court and aristocratic patrons who favored painted scenes from the classic Tale of Genji narrative subjects from Japanese literature and history. . THE MOUNTING AND SIZE; The painting is 47 x 101.5 cm. the mounting is 61 x 139.5 cm. . The painting is mounted on fine gold silk-brocade with ivory Jiku end knobs. With a pair of silk-brocade Futai two silk strips at the top with Takuboku silk-woven ribbon suspension cord mounted in typical Edo period style Kakejiku hanging scroll format. . KIRI BOX: The scroll is contained in an old-wooden box made of Kiri cryptomeria wood with a leather tie strap. The cover has brushed titles see images posted to our website. . CONDITION: The scroll is in its original mounting painted on very fine silk. Overall condition is excellent. It has few of the usual mild wrinkles else very firm and solid example. . The painting has one very small blemish on the lady in the lower right lower side two very tiny inconspicous spots. The verso is clean no issues. By and large an excellent example of an early Edo period painting more than 350 years old. . Color photos are posted to our website . REFERENCES: . An example in the British Museum # 188112100.204: . Also see british museum website for this artist title Listed in: Descriptive and Historical Catalogue of a Collection of Japanese and Chinese Paintings in the British Museum Longmans & Co 1886. Elizabeth Lillehoj ed.: Art and Palace Politics in Early Modern Japan 1580s-1680s. GENJI MONOGATARI: See fine Tosa school painting examples in Wikipedia: wiki/The_Tale_of_Genji Google books: ROBERTS Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING SCULPTURE CERAMICS PRINTS LACQUER p.108 he has mistakenly put the 3 Kanji name for this artist which actually belong to the entry above: Mitsunaga therefore there are not Kanji for this artist's name listed. KOYANO Masako.: JAPANESE SCROLL PAINTINGS:A Handbook of Mounting Techniques pp.10 onward. TOSA SCHOOL PAINTING: https://en.wikipedia.org/wiki/Tosa_school Kakejiku example attributed to Tosa Mitsunori: TALE OF GENJI scroll: see at :collections dot lacma dot org/node/154985 . collections dotlacma dot org/node/192131 MORRISON Arthur R.: THE PAINTERS OF JAPAN volume 1 The Tosa School from page 50. ROSENFIELD John. et al.: THE COURTLY TRADITION IN JAPANESE ART AND LITERATURE: Selections from the Hofer & Hyde collections p.52. Tajima Shiichi.:SHIMBI TAIKAN: SELECTED RELICS OF JAPANESE ART vol.3. DAI NIPPON JIN MEI JIDEN Vol. 3 p.1972. . . hardcover
Référence libraire : 37016601
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[TOULOUSE-LAUTREC] - HUISMAN (Ph.) & DORTU (M. G.)
Lautrec par Lautrec
In-4 carré, 275p. Réédition. Importante monographie pourvue d'une riche iconographie en noir et en couleurs. En fin de volume, catalogue de l'oeuvre graphique original. En parfait état.
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[TOULOUSE-LAUTREC] - HUISMAN (Ph.) & DORTU (M. G.)
Lautrec par Lautrec
In-4 carré, 275p. Edition originale sur papier ordinaire (après 220 ex. de tete num.). Importante monographie illustrée de nombreuses reproductions en noir et blanc et en couleurs contrecollées. En fin de volume catalogue de l'oeuvre graphique original. Bel exemplaire.
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[TOULOUSE-LAUTREC] - TAPIE DE CELEYRAN (Mary)
Notre oncle Lautrec.
Pt. In-8, 151p. Réédition revue et augmentée. Avec un cahier d'illustrations hors texte en noir. A l'état de neuf, non coupé.
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[TOULOUSE-LAUTREC] - TAPIE DE CELEYRAN (Mary)
Notre oncle Lautrec.
Pt. In-8, 99p. Edition originale numérotée 1/1200 exemplaires sur papier blanc appreté. Avec un cahier d'illustrations hors texte en noir.
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[TROYON (Constant)] - HUSTIN (A.).-
Constant Troyon.
1893 Paris, Librairie de l'Art (Collection "Les Artistes Célèbres"), 1893, in 4° broché, 87 pages ; couverture illustrée.
Référence libraire : 75092
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[TREVOUX Joseph] GERMAIN Alphonse
Exposition de peintures de Joseph Trévoux
Lyon, Galerie E. Pouillé-Lecoultre, 1911, 13,5 x 18,5, plaquette de 10 pages agrafées sous couverture souple imprimée. Introduction d'Alphonse Germain ; suivent 65 numéros ainsi qu'une mention de "Dessins". Reproduction (paysage) noir & blanc en frontispice. Catalogue publié à l'occasion de l'exposition présentée à la galerie du 15 au 31 mars 1911. Imprimé par Legendre et Cie (Lyon).
Référence libraire : PEINTLYON87941010126
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[TRUPHEMUS Jacques] COLLECTIF
Jacques Truphémus
Lyon, Musée des Beaux-Arts de Lyon, 1986, 21 x 22,5, 98 pages cousues sous couverture souple illustrée. Iconographie noir & blanc (quelques reproductions couleurs). En frontispice, portrait photographique de Jacques Truphémus par Bernard Gouttenoire. Texte introductif de Jean-jacques Lerrant. Catalogue publié à l'occasion de l'exposition présentée au musée des Beaux-Arts de Lyon en février 1986.
Référence libraire : PEINTURE25120116080426
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[TRUPHEMUS Jacques] CARLIER Sylvie & SOLLY Julie
Jacques Truphémus - Un peintre de l'intime. Peintures et pastels, 1951 - 2005
Villefranche-sur-Saône, Musée Paul Dini, 2005, 20,5 x 26, 144 pages cousues sous couverture souple illustrée. Iconographie noir & blanc et couleurs. Publication qui accompagne l'exposition présentée au Musée Paul Dini du 16 octobre 2005 au 19 mars 2006. Dédicace manuscrite de Paul Dini.
Référence libraire : PEINTUREEE6611211024
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[TRÉSORS DE LA PEINTURE ] - ROTHENSTEIN (John) -
La tate gallery londres.
Paris, Editions aimery somogy, 1963 ; in-8, 288 pp., cartonnage de l'éditeur. Avec jaquette sous boitage.
Référence libraire : 201700119
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[TRUPHEMUS Jacques] RAMOND Sylvie & al.
Truphémus
Paris, Editions Galerie Claude Bernard, 2009, 23 x 28, 56 pages cousues sous couverture souple illustrée. Reproductions en couleurs. Ouvrage publié à l'occasion de l'exposition "Jacques Truphémus" à la galerie du 6 février au 28 mars 2009.
Référence libraire : PEINTLYON2323230526
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[TRUPHEMUS Jacques] LERRANT Jean-Jacques & al.
Truphémus
Paris, Galerie Claude Bernard, 2010, 24,3 x 27,6, 92 pages cousues sous couverture souple illustrée. Portraits et photographies de l'atelier de Jacques Truphémus par Michel Djaoui. Reproductions en couleurs. Ouvrage publié à l'occasion de l'exposition "Jacques Truphémus" à ART PARIS du 18 au 22 mars 2010.
Référence libraire : PEINTLYO5650526
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[TREMOIS] - BAZIN (Germain) - MONTHERLANT (Henry de) - MORIN (Edgar) - PAUWELS (Louis) - ROSSIF (Frédéric) - ROSTAND (Jean).-
Trémois. D'un trait. Textes de Germain Bazin, Henry de Montherlant, Edgar Morin, Louis Pauwels, Frédéric Rossif, Jean Rostand.
1982 Editions Michèle Trinckvel, Editions du Rocher, 1982, in 4) carré relié pleine toile blanche de l'éditeur, jaquette illustrée en couleurs, 254 pages ; très nombreuses illustrations ; petites taches sur la toile ; minuscules frottis à la jaquette.
Référence libraire : 61465
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[TRÉSORS DE LA PEINTURE ] - CANTON (Sanchez) -
TRÉSORS DE LA PEINTURE au prado.
Paris, Editions aimery somogy, 1959 ; in-8, 317 pp., cartonnage de l'éditeur. Avec jaquette sous boitage.
Référence libraire : 201700121
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[TRÉSORS DE LA PEINTURE ] - HENDY (Philip) -
TRÉSORS DE LA PEINTURE à la national gallery londres.
Paris, Editions aimery somogy, 1960 ; in-8, 320 pp., cartonnage de l'éditeur. Avec jaquette sous boitage.
Référence libraire : 201700118
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[TRÉSORS DE LA PEINTURE ] - WALKER (John) -
TRÉSORS DE LA PEINTURE à la national gallery washington.
Paris, Editions aimery somogy, 1964 ; in-8, 338 pp., cartonnage de l'éditeur. Avec jaquette sous boitage.
Référence libraire : 201700117
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[TURNER] - WILTON (Andrew)
J. M. W. Turner. Vie et oeuvre. Catalogues des peintures et aquarelles.
Fribourg, Office du Livre, 1979. In-4 carré, 527p. Reliure pleine toile d'éditeur, sous jaquette illustrée.
Référence libraire : 36280
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[TURNER (J. M. W.)].
J. M. W. Turner, à l'occasion du cinquantième anniversaire du British Concil.
P., Ministère de la Culture - RMN, 1983 ; in-4, broché. 322pp.-1f. Couverture illustrée. Très nombreuses reproductions en noir et en couleurs. Parfait état.
Référence libraire : 6988
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[TUCULESCO] - COMARNESCO (Petru)
Ion Tuculesco.
In-8 carré, 77p. Illustré de 30 reproductions en couleurs contrecollées.
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[TURNER] - WILTON (Andrew)
J. M. W. Turner. Vie et oeuvre. Catalogues des peintures et aquarelles.
In-4 carré, 527p. Ouvrage de référence sur l'oeuvre de Turner. Illustré de 259 reproduction dont 60 en couleurs et de 1342 illustrations en noir et blanc dans le catalogue. Exemplaire neuf, sous blister d'origine.
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[TURNER]. BROWN, David Blayney
Turner et les Alpes 1802. Exposition organisee avec la Tate Gallery.Londres.
petit in-4 carré, 215 pages abdt illustrées en couleurs, broche, couverture illustree.- 9782884430500 Très bel exemplaire, tres frais. [WE-2]
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[UTAGAWA, Kuniyoshi Painting School.]
A PAINTING OF "DEVIL KIYOMASA" & "KONISHI YUKINAGA" AS THEY SUBDUED THE KOREAN K
Japan n.d. ca 1830. A superb scroll painting on silk 39.5 cm. wide by 233 cm. long painting size: 29.5 x 185cm. fine mounting pale silk chrysanthemum patterned border flawless flawless excellent pastel colors excellent condition.RARE! THIS IS A GREAT AND STUNNINGLY BEAUTIFUL HAND-PAINTED SCROLL THE SUBJECT: Kato Kiyomasa 1562-1611 was the son of Kiyotada a relative of Hideyoshi Toyotomi and served him and distinguished himself as one of the seven most famous warriors of that time by his heroic acts at the Battle of Shizugadatake. . During the invasion of Korea he followed Yukinaga Konishi -1600 to Pusan and on to Seoul in 1592 where he fought so fiercely that the Koreans named him "Devil Kiyomasa." Yukinaga was a Christian warrior & retainer of Hideie Ukita and was appointed Lord of Settsu by Hideyoshi Toyotomi. . Hideyoshi appointed these two to spearhead the Korean invasion with Yukinaga the commander. The plan was to launch waves of army corps by ship across the 56 mile wide Tsushima straits to Pusan. Some 300000 fighting men a truly serious force embarked. The first force of 9200 Samurai armed with matchlocks bows and swords set out. Upon landing they rapidly advanced North up the peninsula taking out Korean castles and subduing the regions through power of force. They advanced to Seoul as the armies divided into two parts each racing to see who would enter Seoul first. . At Cho-ryung pass they united then both advanced on Seoul & took the castle as the Korean King and his entourage fled over the river at Imjin where the Koreans up their valiant effort to check the Japanese. This is a most magnificent painting of both Kiyomasa and Yukinaga as each holds a Naginada while the Korean King prepares to rides a black steed effecting his escape while being protected by a retainer who also holds an elaborate Naganada with the Imperial banner. THE ARTIST AND PAINTING SCHOOL: . This work was done in the Utagawa school style and was likely painted by Utagawa Kuniyoshi or one of his star pupils. It was painted in the "Ukiyo-e" style similar to that of a color woodblock print. . It is painted in a firm solid confident strong hand this work is executed with most impressive brush strokes style & manner expressing the Bushido spirit celebrating triumph over the Koreans. Marvelous detail to the whole work renders this a major piece. Skillfully drawn & painted on silk which is the most difficult medium to control ink flow this work is flawless and a fine example worthy of display in any Tokunoma. . The top is blue paper with black Sumi inscription naming the heroes and citing the Korean Battle. REFERENCE: For biographical details see JAPAN BIOGRAPHICAL ENCYCLOPEDIA & WHO'S WHO pp.592 689-90. . F. Brinkley: A HISTORY OF THE JAPANESE PEOPLE pp.509-520. . unknown
Référence libraire : 98166101
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[UTRILLO] - COURTHION (Pierre)
Utrillo.
In-8, non paginé. Avec 53 reproductions h-texte en noir. En parfaite condition.
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[UTRILLO] - RIBEMONT-DESSAIGNES (Georges)
Utrillo ou l'enchanteur des rues.
In-folio en feuille, sous portefeuille et jaquette imprimée, non paginé. Edition originale du texte de Ribemont-Dessaignes. Illustré de 10 reproductions en couleurs contrecollées.
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[UTRILLO] - TABARANT
Utrillo.
In-4, 258p. Avec une centaine de reproductions en noir. Impression sur papier couché. Manque la jaquette.
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[UTRILLO] - TABARANT
Utrillo.
In-4, 258p. Avec une centaine de reproductions en noir. Impression sur papier couché.
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