‎Estampes‎

‎Füssli, (Johann) H(einrich):‎

‎Joh(ann, auch Hans) Waldmann: Ritter, Burgermeister der Stadt Zürich. Ein Versuch die Sitten der Alten aus den Quellen zu erforschen.‎

‎Zürich, Orell, Gessner, Füssli und Comp., 1780. 8°. (2) 286 (6) S. Mit 1 gest. Titelvignette. Pappband der Zeit.‎

‎Schönes Exemplar mit einem Portrait von Johann Waldmann. - Mit handschriftlichem Eintrag des Vorbesitzers "Max Wehrli 1924" (Rektor der Universität Zürich). Minimal stockfleckig. Mit Gebrauchsspuren.‎

Riferimento per il libraio : 3900BB

‎Füssli, Friedrich Salomon:‎

‎Souvenir de Zuric et les environs.‎

‎Zurich, F. S. Füssli successeur de Keller et Füessli, (1835). Quer-8°. Mit 24 lithogr. Tafeln. Illustr. Orig.-Broschur.‎

‎Die Tafeln zeigen verschiedene Gebäude, Strassen-, See- und Flussansichten. Broschur und Bindung beschädigt.‎

Riferimento per il libraio : 30326AB

‎Füssli, Johann Melchior.- (1677?1736)‎

‎Wahrhafte Architectur-mässige Abbildung des neüm-erbaumeten Rathhauses hochdienlicher Statt Zürich, wie solches auf allen viere Seiten anzuschauwer. - Hac facie, hoc cultu fulget nova Cura, Cura Prospera Justitiae sedes et Pacis asylum Quam generosa Patrum condidit et statuit Stet, donec Mundi machina tota ruat! - Magnificentissimo & Amplissimo SENATUI P. 2. Tig. Chalcographum hoc humilimè dedicat, dicat Joh. Melchior Fuesslinus, Sculpt. Civ. Tig. A. 1697.‎

‎Zürich., 1697. 4 Kupferstiche, 2 davon mit Mittelfalz. Bildformate: 33,4 x 27,7 und 36,2 x 47,5 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +‎

‎Das neue Rathaus in Zürich wurde von 1894 - 1898 neben der Limmat erstellt. Seine Formen der Spätrenaissance und des Frühbarocks gehen auf italienische Vorbilder zurück. - Sehr guterhaltenes Exemplar.‎

Riferimento per il libraio : 770DG

‎G.D.‎

‎K. Boches. M...c'en est !‎

‎32X50 cm.Editions Capon, 22 rue Brochant.‎

‎Estampe en couleurs sur vélin.‎

Riferimento per il libraio : 16347

‎Gaberell, Jean‎

‎Wintersports and Bathing-cures.‎

‎1930. Touristikplakat in Tiefdruck, nach einer Fotografie von J. Gaberell. Blattgrösse: 64 x 48 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, 1020DG‎

‎Englische Ausgabe dieses Tourismusplakates. - Sehr guter Zustand.‎

Riferimento per il libraio : 1020DG

‎GAGARINE (Mila).‎

‎Hymne à la mémoire du vide‎

‎[Paris] Mila Gagarine - Pierre Lecuire 1991 In-16 En feuilles, couverture de parchemin rempliée titrée, étui.‎

‎EDITION ORIGINALE illustrée hors texte de 5 POINTES-SECHES originales de Geneviève ASSE. Impression par François Da Ros au recto de dix feuilles pliées en quatre formant les cahiers. Tirage unique à 52 exemplaires sur Chine, numérotés et signés par l'auteur et l'artiste. Un des 35 avec les estampes. >>>>>Mila Gagarine était la femme de Pierre Lecuire. C'est ce dernier, rencontré en 1953, qui encouragea à ses débuts Geneviève Asse: « Ce fut [lui], au départ, qui m'a incitée et m'a dit: "Vous devriez faire de la gravure ". Ce qui m'a plu avec lui, c'est la fabrication de ses livres, la façon dont il les composait, et de débuter, si je puis dire, avec lui ». Après une première tentative en 1961 avec le livre LA BALANCE qui ne parut jamais, l'artiste réalise en 1964 les pointes sèches qui illustrent le poème de Pierre Lecuire L'AIR. Elle donnera huit fois par la suite des estampes au poète-éditeur, et deux fois à sa compagne. Très bon 0‎

Riferimento per il libraio : 013811

‎Gaillard‎

‎Benoit XIII Ursini‎

‎Épreuve sur beau papier filigrané. en feuille Très bon Paris 15 x 11 cm‎

Riferimento per il libraio : 15212

‎Gaillard‎

‎Jean Baptiste Willart de Grécourt‎

‎Épreuve sur beau papier filigrané. en feuille Très bon Paris 14 x 8,5 cm‎

Riferimento per il libraio : 15214

‎Gaillard‎

‎Sébastien Le Nain de Tillemont‎

‎Épreuve sur beau papier filigrané. en feuille Très bon Paris 15 x 11 cm‎

Riferimento per il libraio : 15184

‎GALANIS Démétrios‎

‎Pastorale par Galanis (pl.6, La Gazette du Bon ton, 1924-1925 n°1)‎

‎- Lucien Vogel éditeur, Paris 1924-1925, 18x24cm, une feuille. - Original color print, printed on vergé paper, non signed. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, non-signée. Gravure originale réalisée pour l'illustration de La Gazette du bon ton‎

‎GALESTRUZZI Giovanni Battista‎

‎Différents sujets de l’histoire romaine.‎

‎Épreuves sur beau papier vergé. Bartsch XXI, 3 à 8. Série bien complète. D’après Polidore de Caravaggio 6 estampes‎

Riferimento per il libraio : 7320

‎Galfetti, Mariuccia and Nuria Homs (Antoni, Antonio Tapies)‎

‎Antonio Tapies. Obra grafica. Graphic Work. 1979-1986. (Catalogue raisonne of the prints of Antoni Tapies)‎

‎The third volume of the catalogue raisonne of Tapies' prints, covering the years from 1979 to 1986 (nos. 708 to 1088). Text in Spanish and English. All items illustrated, several color plates. 4to, publisher's cloth. Fine in a fine dj. Like new.‎

‎GALLE Philips‎

‎Sacerdotum concilio sistuntur‎

‎Quatrième gravure d'une série consacrée à l'histoire de Pierre et Jean. D'après Marten van Heemskerck. Excudit de Cock de 1558. En feuille. Ancienne réparation dans l'angle supérieur droit. Moyen haarlem Cock 1558 23,5 x 22 cm‎

‎édition originale‎

Riferimento per il libraio : 14690

‎GALUZZI (Marc) ?‎

‎Dernière découverte zoologique. Espèce très dangereuse!!!‎

‎33X50 cm.‎

‎Lithographie . (Rousseurs éparses).‎

Riferimento per il libraio : 16335

‎Gambke, Ulrich; Weidmann-Zweifel, Afra:‎

‎Tal der Linth.‎

‎Glarus, Tschudi, 1993. 4°. 208 Seiten. Mit 61 farbigen und 29 s/w ganzseitigen Abbildungen. Orig. Leinen mit Schutzumschlag.‎

Riferimento per il libraio : 21669AB

‎GANDINI, Gino (Reggio Emilia 1912-2001),‎

‎Puianello‎

‎Acquaforte originale Firma a matita. Esemplare 7/40. Cm 29x18,5 (Foglio 70x50). pp.. . . . Tiratura 40. .‎

‎GANGLOFF Pierre‎

‎Dehors.‎

‎Jean-Pierre Huguet Carnets des Sept Collines Jean-Pierre Huguet, Carnets des Sept Collines (N°25), 2007, 43 p., broché, environ 23x12cm, exemplaire numéroté 39/100, avec un envoi et un frontispice signé de l'auteur, bon état.‎

‎Merci de nous contacter à l'avance si vous souhaitez consulter une référence au sein de notre librairie.‎

Riferimento per il libraio : 102091

‎GARELLI, Franco,‎

‎Caso di uomo‎

‎8 litografie originali in nero, numerate e firmate di Garelli (cm 35x25). Un testo dell'A. riprodotto litograficamente al risvolto della copertina Copertina originale dell'A. Stampa curata dall'A. eseguita con torchio a mano dal maestro Corsino. Pietre distrutte dopo la tiratura. Cm 25x35. pp. 8. . Molto buono (Very Good). Fioriture leggere alla copertina (Some light yellowing at the covers). Edizione originale di 75 es. numerati. .‎

‎Garton European Prints - VERY RARE‎

‎German Expressionist Prints‎

‎Garton London 1989 Very scarce and brilliant catalogue. Sixty Four prints brilliantly reproduced. Stiff card covers. Much sought after. Former owner blind stamp to introduction page. Enclosure with price list. Language: eng. Soft cover. Fine. Garton London paperback‎

Riferimento per il libraio : ABE-1492682002481

‎Gasiorowski, Gérard‎

‎[Lithographie originale :] Etant donné l'adorable leurre‎

‎1974 aucune reliure Lithographie originale en couleurs, 1974. Feuille : 76 x 56 cm. Image : 39 x 30 cm.‎

‎Lithographie de la série "étant donné l'adorable leurre". Non signée, non numérotée (le tirage numéroté est à 50 exemplaires). Parfait état. Parfait‎

Riferimento per il libraio : 2923

‎Gaspar Camps Y Junyent (1874-1942)‎

‎Estampe du "Mucha catalan" Gaspar Camps, représentant une jeune élégante à la lanterne, de style art nouveau. Signée dans la planche. Encadrée.‎

‎Imprimé en France, sd, années 1920, 16,5x37 cm, Impression en offset. Estampe contrecollée sur carton reprenant le motif du cadre. Encadrement 44 x 24 cm. Bon état.‎

Riferimento per il libraio : 84410

‎GAUCHEREL Léon d'après De Beaumont.‎

‎Où diable l'amour va-t-il se nicher !‎

‎Très belle épreuve. IFF 159 Paris Delatre 1880 17,7 x 12,4 cm. Marges 29 x 19,3 cm.‎

Riferimento per il libraio : 7956

‎Gaudin, J(ean):‎

‎Flora Helvetica sive historia stripium hucusque cognitarum in Helvetia et in tractibus conterminis...‎

‎7 Bände. Zürich, Orell Fuessli, 1828–1833. 8°. Mit 28 kol. Kupfertafeln. Pappbände aus der Zeit mit verg. Rückenschild und Rückenvergoldung.‎

‎Longchamp 1153. – Nissen BBI 691. – Pritzel 3239. – Junk 4444. – Erste Ausgabe der wichtigsten Schweizer Flora des 19. Jahrhunderts. Jean Caudin (1766–1833) war nach seinem Theologiestudium in Zürich und Genf tätig, ab 1795 Pfarrer in Nyon und zugleich Lehrer für Mathematik und Naturgeschichte. Er gründete zusammen mit Henri-Albert Gosse die Helvetische Gesellschaft für Naturgeschichte. 1820 wurde er Honorarprofessor für Botanik in Lausanne. – Band eins zu Beginn und am Schluss im oberen Rand mit durchgehendem grösserem Tintenfleck. Papier stockfleckig. Einbände berieben und bestossen.‎

Riferimento per il libraio : 30176AB

‎GAUGUIN Paul & MONFREID George-Daniel de‎

‎Diane et Actéon aux Marquises. Noa Noa. Epreuve unique du bois dessiné et gravé d'après Paul Gauguin par George-Daniel de Monfreid‎

‎- s.d. (1924), 93x78mm, autre. - Diane et Actéon aux Marquises. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreid [between 1904 & 1924] | 9,3 x 7,8 mm | one sheet Original proof, likely unique, of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after two works by Paul Gauguin. Print on Japan silk, annotation by the artist in the left-hand margin. Woodcut drawn and engraved after two works, the man holding a branch being a reproduction of a watercolor on page 37 of the Noa Noa manuscript, while the full-length woman originally observed by this browser, is presented here in bust with her hand to her face, model reproduced on a woodcut engraved by Gauguin on page 4 of the manuscript (and his original sketch pasted on page 51), evoking a similar scene. The final woodcut will serve as the head of chapter IV of the first true illustrated edition of Noa Noa, published by Crès in 1924, the first illustrated work after Paul Gauguin and a majestic tribute to one of the precursors of modern art. Superb engraving synthesizing a watercolor from the original Noa Noa manuscript, inspired by the myth of Diana and Actaeon, engraved by Gauguin's closest friend and executor, the artist George-Daniel de Monfreid, heir to the album he would offer to the French State in 1927. A likely unique proof, part of 17 known test woodcuts from the early project to publish Noa Noa, all made on various fine papers and annotated by the artist. Woodcut engraved after a watercolor reinterpreting the myth of Diana, surprised in the bath by Actaeon. In the engraving, Monfreid took care to preserve the typical of deer antler shape of the branch seized by the indiscreet, which evokes its metamorphosis by the goddess. A very rare work by Gauguin mixing ancient mythology and island exoticism, whose subversive power seems entirely carried by the vahine Diana's expression of feint surprise. It is from the original illustrated manuscript of Noa Noa, brought back from Tahiti by Segalen on the artist's death in 1903, that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this "to read and look at" notebook. The first manuscript, written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893, responded to a different project. Gauguin had composed only the text, interspersed with blank pages for Morice's poems. But after several years without news, Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin, therefore, copied his manuscript and illustrated it during his second stay in Polynesia, with sketches, watercolors and collages. This album, that the artist enriched and safely preserved until his death, is preserved today at the Musée d'Orsay. It is, therefore, from this manuscript, the only one illustrated, that Monfreid composed the edition of Gauguin's Noa Noa. However, although Monfreid's publication was forward, it took more than twenty years to complete, in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work, the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript, and to the whole of Gauguin's Tahitian work, who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings, while scrupulously respecting the artist's line, transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin, who, in Pont-Aven, produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The interm‎

‎GAUGUIN Paul & MONFREID George-Daniel de‎

‎Les odalisques aux mangues. Noa Noa. Epreuve unique du bois dessiné et gravé d'après Paul Gauguin par George-Daniel de Monfreid‎

‎- s.d. (1924), 93x78mm, autre. - Les Odalisques aux mangues. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreid [between 1904 & 1924] | 9,3 x 7,8 cm | one sheet Original proof, likely unique, of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after Paul Gauguin. Print on fine cream laid paper, annotation by the artist in the left-hand margin. Woodcut drawn and engraved after two different works. The back of the woman is an exact reproduction of an ink from page 92 of the Noa Noa manuscript, while the woman lying down takes up the well-known theme of the woman with mangos, Te Arii Vahine-Opoi, that Gauguin represented in paint as well as with an engraving in 1898. The final woodcut will serve as the head of chapter V of the first true illustrated edition of Noa Noa, published by Crès in 1924, the first illustrated work from Paul Gauguin and a majestic tribute to one of the precursors of modern art. Superb and significant engraving uniting two major themes of the Tahitian work, including the central drawing of the Noa Noa manuscript, faithfully engraved by Gauguin's closest friend and executor, the artist George-Daniel de Monfreid. A likely unique proof, part of 17 known test woodcuts from the project to prematurely publish Noa Noa, all made on various fine papers and annotated by the artist. Woodcut engraved from two major original works. By uniting these two vahines with sensual postures, Monfreid brings about a true synthesis of Gauguin's work, all while using the traditional double figure of the artist's paintings. It is from the original illustrated manuscript of Noa Noa, brought back from Tahiti by Segalen on the artist's death in 1903, that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this "to read and look at" notebook. The first manuscript, written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893, responded to a different project. Gauguin had composed only the text, interspersed with blank pages for Morice's poems. But after several years without news, Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin, therefore, copied his manuscript and illustrated it during his second stay in Polynesia, with sketches, watercolors and collages. This album, that the artist enriched and safely preserved until his death, is preserved today at the Musée d'Orsay. It is, therefore, from this manuscript, the only one illustrated, that Monfreid composed the edition of Gauguin's Noa Noa. However, although Monfreid's publication was forward, it took more than twenty years to complete, in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work, the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript, and to the whole of Gauguin's Tahitian work, who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings, while scrupulously respecting the artist's line, transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin, who, in Pont-Aven, produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The intermediate woodcuts, until then unknown, testify to the slow work of composition to restore the artistic richness of Gauguin's work by his most faithful artistic companion and first champion: "When I saw Gauguin for the first time, I was greatly disconcerted by the details of art that radiated from his works as well as from the conversations‎