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BUFFET Bernard
Lithographie originale signée intitulée "Le Christ : Ayez Pitié"
- Sorlier , Paris 1961, 56x76cm, une feuille. - Lithographie originale intitulée "Le Christ : Ayez Pitié", épreuve d'artiste justifiée en bas à gauche "E.A.", signature de Bernard Buffet également au crayon en bas à droite. Très bel exemplaire. [ENGLISH DESCRIPTION ON DEMAND]
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BARBIER George
Le Bonheur du jour ou Les Grâces à la Mode
- Chez Meynal, Paris 1920-1924, 44,5x31cm, en feuilles sous couverture de l'éditeur. - Le Bonheur du jour ou Les Grâces à la Mode Chez Meynal | Paris 1920-1924 | 44,5 x 31 cm loose leaves under publisher's cover and custom slipcase First edition complete with its 21 color copper-engravings and pochoirs by H. Reidel colored after the drawings of George Barbier: one on the cover, one on the title, 3 in the text and 16 plates. The work was printed with 300 copies, all printed on vellum paper. Embossed stamp in the bottom right of the title page. Our copy is presented in a blue calf custom slipcase, fans-pattern paper boards, title piece in blue calf and titled in palladium in the center of the first board; lambskin velvet lining, slipcase signed by Thomas Boichot. Rare and superb copy, complete with all its plates, of this magnificent and monumental Art Deco work that required four years of work. [FRENCH VERSION FOLLOWS] Édition originale bien complète de ses 21 compositions en couleurs gravées sur cuivre par H. Reidel et coloriées au pochoir d'après les dessins de George Barbier?: une sur la couverture, une sur le titre, 3 dans le texte et 16 hors texte. L'ouvrage fut tiré à 300 exemplaires, tous imprimés sur papier vélin. Notre exemplaire est présenté dans un étui en veau bleu, plats de papier à motif d'éventails, pièce de titre en veau bleu et titrée au palladium au centre du premier plat, doublure en velours d'agneau, étui signé Thomas Boichot. Timbre à sec en bas à droite de la page de titre. Rare et superbe exemplaire, complet de toutes ses planches, de ce magnifique et monumental ouvrage Art Déco qui nécessita quatre années de travail.
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GAUGUIN Paul & MONFREID George-Daniel de
La mémoire et l'imagination. Noa Noa. Epreuve unique du bois dessiné et gravé d'après Paul Gauguin par George-Daniel de Monfreid
- s.d. (1924), 93x78mm, autre. - La Mémoire et l'Imagination. 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 a watercolor by Paul Gauguin. Print on fine cream laid paper, annotation by the artist in the left-hand margin. Woodcut drawn and engraved after a watercolor from the Noa Noa manuscript, pasted on a page of text of the famous album. The final woodcut will serve as the head of the first 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 and significant engraving after a very specific watercolor from Paul Gauguin's manuscript, a real breakthrough in text, engraved by his closest friend and executor, the artist George-Daniel de Monfreid, heir to the album he would offer to the French State in 1927. The initial watercolor was cut out in waves around the female figure and pasted on the last chapter to prevent it from being read and thus get the story back on track. Gauguin had also added winding lines starting from the watercolor on the text page, thus giving the impression of a cave breaking through the page, by the psychic power of the sitting woman whose head diffuses the undulating rays. Monfreid decided to place it at the head of the work accompanied by two birds taken from other works, to illustrate the power of the artist and his imagination. 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. Unique proof of a woodcut engraved after the mystical watercolor erasing the first ending of the story to allow the reader to graphically enter the painted album, repeated in the printed version as the initiatory opening of the engraved story. 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 illu
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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
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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
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GAUGUIN Paul & MONFREID George-Daniel de
Tehura. Noa Noa. Epreuve unique gravée d'après le tableau Merahi metua no tehamana de Paul Gauguin par George-Daniel de Monfreid
- s.d. (1924), 93x78mm, autre. - Tehura. Original proof engraved after the painting "Merahi Metua no Tehamana". Intermediate state for Noa Noa [between 1904 & 1924] | 9,3 x 7,8 cm | one sheet Original proof, likely unique, of this intermediate state of "Tehura", wood drawn and engraved after Paul Gaughin's painting "Merahi Metua no Tehamana" by George-Daniel de Monfreid. Print on fine cream laid paper, annotation by the artist in the left-hand margin. The definitive wood served as the head of chapter VI, "Le Conteur parle", page 81 of the true first 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. A most important and very first woodcut of Gauguin's masterpiece, engraved by his closest friend and executor, artist George-Daniel de Monfreid, to whom Gauguin offered the painting after two unsuccessful exhibitions. Likely unique proof, part of 17 known test prints from the project to publish prematurely Noa Noa, all made on various fine papers and annotated by the artist. Precious woodcut after Gauguin's masterpiece Merahi metua no Tehamana, showing the painter's wife, his main tahitian model. 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 of this extraordinary man... You immediately felt that he was the Master" (in L'Hermitage, 1903). [FRENCH VERSION FOLLOWS] Epreuve originale probablement unique de cet état intermédiaire de "Tehura", bois dessiné et gravé d'après le tableau Merahi metua no tehamana de Paul Gauguin par Georges-Daniel de Monfreid. Tirage sur vergé crème fin, annotation de l'artiste au crayon en marge gauche. Le bois définitif servira
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GAUGUIN Paul & MONFREID George-Daniel de
Retour de pêche aux thons et bonites. Noa Noa. Epreuve unique du bois dessiné et gravé d'après Paul Gauguin par George-Daniel de Monfreid
- s.d. (1924), 93x78mm, autre. - Retour de pêche aux thons et bonites. 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 a watercolor by Paul Gauguin. Print on fine cream laid paper, annotation by the artist in the left-hand margin. Woodcut drawn and engraved from the first watercolor of the Noa Noa manuscript, pasted on a page of text of the famous album. The final woodcut will serve as the head of chapter X 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 this precursor of modern art. Superb and significant engraving of the work opening Paul Gauguin's manuscript, engraved by his closest friend and executor, the artist George-Daniel de Monfreid, heir to the album he would offer to the French State in 1927. This 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 the watercolor inaugurating one of the painter's most beautiful albums, symbolizing the Tahitian art of living, between the nourishing sea and earthly pleasures. 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 of this extraordinary man... You immediately felt that he was the Master" (in L'Hermitage, 1903). [FRENCH VERSION FOLLOWS] Epreuve originale probablement unique de cet état intermédiaire d'un bois dessiné et gravé d'après une aquarel
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LAZAR Oscar
Université de Genève
- 1941, 24,5x33cm, 82 feuilles., relié. - Recueil constitué par l'artiste de 82 lithographies réalisées entre 1939 et 1940 d'après ses dessins. Toutes sont des portraits du personnel enseignant de l'université de Genève, au crayon noir ou gras, et comportent en légende le nom du modèle et la signature de l'auteur, ainsi qu'une date. On distinguera le portrait de Jean Piaget, qui fut amplement utilisé comme image du psychologue. Le papier habituellement utilisé est celui usité pour le dessin, et les qualités de la lithographie laissent penser qu'il s'agit de dessins originaux ; on pense que l'auteur possédait sa propre presse et réalisait ses lithographies. Reliure en pleine basane citron marbré d'époque. Dos lisse, titre argenté. Sur le plat , en lettres d'argent : Université de Genève, avec les armes au-dessous, et en bas à droite : Oscar Lazar, 1941. Frottements et quelques épidermures. L'artiste fera relié semblablement ses recueils de dessins originaux, cette reliure agissant comme une reliure personnalisée pour les oeuvres de Lazar. Envoi : Dédié à Monsieur Albert Lagier. Chêne-Bougerie, le 20.IV. 1942. Lazar. Albert Lagier était alors recteur de l'Académie de Genève. Dessinateur et portraitiste d'origine hongroise, Oscar Lazar s'est installé à Genève en 1924. Il publie plusieurs ouvrages sur des personnalités genevoises, suisses et internationales d'après ses dessins (Rotary, Saint-Moritz, Zurich, Société des Nations). La bibliothèque de Genève possède des dessins originaux. [ENGLISH DESCRIPTION ON DEMAND]
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(LANVIN Jeanne) BRISSAUD Pierre
Ta maman va bien ? Tailleur du matin et robe de fillette de Jeanne Lanvin (pl.37, La Gazette du Bon ton, 1914 n°4)
- Lucien Vogel éditeur, Paris Avril 1914, 19x24,5cm, une feuille. - Estampe originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. Gravure originale réalisée pour l'illustration de La Gazette du bon ton, l'une des plus belles et des plus influentes revues de mode du XXème siècle, célébrant le talent des créateurs et des artistes français en plein essor de l'art déco. Célèbre revue de mode fondée en 1912 par Lucien Vogel, La Gazette du bon ton a paru jusqu'en 1925 avec une interruption durant la Guerre de 1915 à 1920, pour cause de mobilisation de son rédacteur en chef. Elle se constitue de 69 livraisons tirées à seulement 2000 exemplaires et est illustrée notamment de 573 planches en couleurs et de 148 croquis représentant des modèles de grands couturiers. Dès leur parution, ces luxueuses publications « s'adressent aux bibliophiles et aux mondains esthètes » (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Imprimées sur beau papier vergé, elles utilisent une police typographique spécialement créée pour la revue par Georges Peignot, le caractère Cochin, repris en 1946 par Christian Dior. Les estampes sont réalisées grâce à la technique du pochoir métallique, rehaussées en couleurs et pour certaines soulignées à l'or ou au palladium. L'aventure commence en 1912 lorsque Lucien Vogel, homme du monde et de la mode - il a déjà participé à la revue Femina - décide de fonder avec sa femme Cosette de Brunhoff (sur de Jean, le père de Babar) la Gazette du bon ton dont le sous-titre est alors « Art, modes et frivolités ». Georges Charensol rapporte les propos du rédacteur en chef : « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). Le succès de la revue est immédiat, non seulement en France, mais aussi aux Etats-Unis et en Amérique du Sud. À l'origine, Vogel réunit donc un groupe de sept artistes : André-Édouard Marty et Pierre Brissaud, suivis de Georges Lepape et Dammicourt ; et enfin ses amis de l'École des beaux-arts que sont George Barbier, Bernard Boutet de Monvel, ou Charles Martin. D'autres talents viennent rapidement rejoindre l'équipée : Guy Arnoux, Léon Bakst, Benito, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Maggie Salcedo. Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, deviendront par la suite des figures artistiques emblématiques et recherchées. Ce sont ces mêmes illustrateurs qui réalisent les dessins des publicités de la Gazette. Les planches mettent en lumière et subliment les robes de sept créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet et Doucet. Les couturiers fournissent pour chaque numéro des modèles exclusifs. Néanmoins, certaines des illustrations ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. La Gazette du bon ton est une étape décisive dans l'histoire de la mode. Alliant l'exigence esthétique et l'unité plastique, elle réunit pour la première fois les grands talents du monde des arts, des lettres et de la mode et impose, par cette alchimie, une toute nouvelle image de la femme, élancée, indépendante et audacieuse, également portée par la nouvelle génération de couturiers Coco Chanel, Jean Patou, Marcel Rochas... Reprise en 1920 par Condé Montrose Nast, la Gazette du bon ton inspirera largement la nouvelle composition et les choix esthétiques du « petit journal mourant » que Nast avait racheté quelques années auparavant : le magazine Vogue. [ENGLISH DESCRIPTION ON DEMAND]
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FICKE, Arthur Davison:
Chats on Japanese prints.
8vo, 21.6cm. Pp. 456,[2], frontisp., 56 black & white plates., several figs., refs. Orig. boards in dust-jacket. Slight rubbing to jacket, fine otherwise. - Unaltered reissue of the original edition of 1915.
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DOMERGUE
Nuit blanche. Lithographie (sur fond bleu) tir?e ? 500 exemplaires.
29x36 cm sur feuille 38x56cm.
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PANN Abel
Lithographie 33x43cm, sur feuille 50x64cm. Tir?e ? 500 exemplaires. (Int?rieur d'une synagogue d?truite).
L?g?re mouillure en marge.
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STEINLEN
Chanson de route. Lithographie tir?e ? 100 exemplaires. Sign?e au crayon. (37x57 cm).
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STEINLEN
Lithographie sign?e (Tableau d'honneur), tir?e ? 50 exemplaires.
Format 60x80 cm.
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STEINLEN
Lithographie sans titre (groupe de r?fugi?s. 1915), 40x54cm (sur fond jaune), tir?e sur 60x75cm.
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GROUX Henry de
Lithographie sign?e, "femme et enfants dans les ruines".
Estampe tir?e sur feuille 28x40 cm.
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BOURGONNIER
L'entr?e triomphale. 1916. Lithographie 50x65cm, tir?e ? 50 exemplaires.
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DOMERGUE
La main fraternelle (mai 1915). Lithographie (fond jaune) 32x45cm, tir?e sur feuille 38x56cm.
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COLLECTION H. - B.
Tr?s belles estampes du XVIII?me si?cle. Catalogue de la vente.
80 pages. 266 num?ros. 32 planches.
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COLLECTIF
MASSOL, PHILIPPE LARTIGUE, ESTAMPES MODERNES, BIBLIOTHEQUE D'UN ARCHITECTE, VENTE A PARIS, HOTEL DROUOT, SALLE 13, 23 AVRIL 2003
Massol S.A.. 2003. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 24 pages. Illustré de photos en couleur et en noir et blanc. Pinatel. Carzou. Rops...
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ROUIR E.
L ESTAMPE. VALEUR DE PLACEMENT. CONSEILS AUX AMATEURS ET COLLECTIONNEURS.
GUY LE PRAT.. 1984. In-8 Carré. Broché. Bon état. Couv. légèrement passée. Dos satisfaisant. Intérieur acceptable. 223 pages. Quelques illustrationsen noir et blanc hors texte.
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COLLECTIF
ESTAMPES (CATALOGUE)
Ader Picard Tajan. 1989. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. Plaquette d'env. 30 pages; illustrée de nombreuses photos en noir et blanc dans et hors texte. Vente aux enchères de avril 1989, Nouveau Drouot. Gravures. Estampes des XIXe et XXe siècles, de Bonnard, Cézanne, Chagall, Corot, Delacorix, Dufy, Foujita, Goya, Matisse...
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COLLECTIF
RARE ENSEMBLE D'ESTAMPES DES XIXe ET XXe SIECLES (CATALOGUE)
Ader Picard Tajan. 1988. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. Plaquette d'env. 15 pages, illustrée de nombreuses photos en noir et blanc et en couleur, dans et hors texte. Prix scotchés au dos du 1er plat. Vente aux enchères, mars 1988, Nouveau Drouot. Bonnard. Corot. Dufy...
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COLLECTIF
TRES BELLES ESTAMPES ORIGINALES DES XIXe ET XXe SIECLES (CATALOGUE)
Nouveau Drouot. 1984. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. Env. 60 pages. Illustré de nombreuses reproductions en noir et blanc dans et hors texte. Vente aux enchères, oct. 1984, Nouveau Drouot. Appian, Béjot, Besnard, Bonnard, Corot, Derain, Dunoyer de Segonzac, Ensor...
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COLLECTIF
ESTAMPES (CATALOGUE)
Jean-Louis Picard. 1991. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. Plaquette d'env. 25 pages, illustrée de photos en noir et blanc dans le texte. Vente aux enchères, nov. 1991, Drouot. Ecoles anciennes. Gravures du XVIIIe et début du XIXe s. ...
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COLLECTIF
ESTAMPES MODERNES, 4e VENTE HENRI M. PETIET (CATALOGUE)
Jean-Louis Picard. 1993. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 66 pages. Illustré de nombreuses photos en noir et blanc et en couleur, dans et hors texte. Avec 2 feuillets volants (estimations). Vente aux enchères, juin 1993, Hôtel Drouot. Bonnard. Dufy. Renoir. Signac. Laboureur. Manet. Matisse...
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FAHR BECKER GABRIELE.
L ESTAMPE JAPONAISE.
TASCHEN.. 1994. In-8 Carré. Broché. Bon état. Couv. fraîche. Dos satisfaisant. Intérieur frais. 200 pages. Frontispice en couleurs . Nombreuses illustrations en couleurs dans le texte et hors texte.
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COLLECTIF
ESTAMPES (CATALOGUE)
Ader Picard Tajan. 1992. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. Plaquette de 30 pages illustrée de quelques photos en noir et blanc dans et hors texte. Vente aux enchères, juin 1992, Drouot. Ecoles anciennes. Gravures du XVIIIe s. Estampes des XIXe et XXe s. ...
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COLLECTIF
OBJETS D'ART ET DE BEL AMEUBLEMENT, CERAMIQUES, PORCELAINES, OPALINES, LOT DE 4 CATALOGUES
Jean-Louis Picard. 1992-1993. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. Lot de 4 catalogues illustrés de nombreuses photos en couleur et en noir et blanc. Ventes aux enchères, 1992-1993, Drouot Montaigne. Collection monégasque. Collection de la comtese F.H. Grandes collections. Empire et Restauration...
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COLLECTIF
ESTAMPES MODERNES, 3e VENTE HENRI M. PETIET (CATALOGUE)
Jean-Louis Picard. 1992. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 64 pages. Illustré de nombreuses reproductions en couleur et en noir et blanc, dans et hors texte. Avec feuillet tiré à part (estimations). Vente aux enchères, oct. 1992, Hôtel Drouot. Bonnard. Degas. Matisse. Daumier. Toulouse-Lautrec. Denis...
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COLLECTIF
TRES BELLES ESTAMPES ORIGINALES DES XIXe ET XXe SIECLES, DESSINS (CATALOGUE)
Hôtel Drouot. 1973. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. Plaquette d'env. 40 pages, illustrée de nombreuses photos en noir et blanc dans et hors texte. Vente aux enchères, oct. 1973, Hôtel Drouot. Avati, Bonnard, Buffet, Degas, Dufy, Goya, Matisse, Renoir...
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COLLECTIF
SUCCESSION DE M. CAMILLE BLOCH, ESTAMPES ANCIENNES & MODERNES, LIVRES ANCIENS, ROMANTIQUES ET MODERNES (CATALOGUE)
Hôtel Drouot. 1968. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur acceptable. Env. 100 pages. Illustré de nombreuses photos en noir et blanc au dos des plats. Nombreuses annotations dans le texte (prix). Vente aux enchères, mars 1968, Hôtel Drouot. En couverture: André Derain, Bateaux à Collioure...
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COLLECTIF
ESTAMPES (CATALOGUE)
Hôtel Drouot. 2008. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. Env. 80 pages. Illustré de nombreuses photos en couleur. Vente aux enchères, mars 2008, Hôtel Drouot. Christophe Joron-Derem. De Adami (Valerio) à Zendel (Gabriel).
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ROUIR E.
L'ESTAMPE, VALEUR DE PLACEMENT, CONSEILS AUX AMATEURS ET COLLECTIONNEURS
ISBN : 2852050019. Guy Le Prat. 1984. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 223 pages. Collection 'Valeurs-refuge'. Nouvelle édition revue et augmentée.
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FOCILLON HENRI.
MAITRES DE L ESTAMPE
FLAMMARION. 1969. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 190 pages- nombreuses illustrations en noir et blanc dans et hors texte AMG IMAGES ET IDEES
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BOLLER WILLY
ESTAMPES JAPONAISES DE KATSUKAWA SHUNSHO
PAYOT LAUSANNE. NON DATE. In-12 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. environ 20 pages - nombreuses reproductions en couleurs hors texte - Couverture contrepliée - COLLECTION ORBIS PICTUS N°18.
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LAURY MARC
UNE ESTAMPE ORIGINALE DE MARC LAURY - represantant un paysage comprenant un chemin et des arbres.
A COMPTE D'AUTEUR. NON DATE. In-Folio Carré. En feuillets. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. UNE ESTAMPE ORIGINALE de dimension 46 Cm X 31 Cm environ incluant les bordures - Dimension hors bordures : 32 C m X 20 Cm environ. // Epreuve signée en bas à gauche, annotée EA à droite , au crayon a papier.
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Claassen, Lynda C.
Finders Guide to Prints and Drawings in the Smithsonian Institution
First volume in a series. Usual library labels and stamps. Corners a little bumped. Binding is tight and contents clean and bright. Ex - Library
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Bryce, Betty Kelly
American Printmakers, 1946-1996 : An Index to Reproductions and Biocritical Information
Very good condition with only a few signs of any use or wear. Ex-library sticker to spine, stamps to pageblock eddges three markings to the inside cover/title pages. Ex-Library
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Print Index : A Guide to Reproductions
Ex-library copy displaying sticker to spine and various stickers/stamps to inside cover, title pages and edges of pageblock. Book shows only minor signs of wear. pages are clean, bright and tight throughout. Ex - Library
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Brouet (Auguste).
Auguste Brouet. Catalogue de son Oeuvre gravé (...?) précédé d'une étude de Gustave Geffroy. Estampes.
Ensemble de deux volumes de format in 4° de 8 ff.; une eau-forte originale numérotée; 141 planches reproduites en phototypie avec serpentes protectrices explicatives; 4 ff. pour le tome 1. Pour le tome II: 4 ff.; planches 142 à 271 reproduites en photypie; 4ff.. Reliure de l'éditeur en demi maroquin noir à longs grains; dos à quatre nerfs, caissons richement ornés et dorés, titres dorés, dates en pied; décor de filets dorés sur les coins; têtes dorées; non rogné. Couvertures entièrement conservées. Tirage total à 1030 exemplaires; celui-ci N°132 sur vélin, second papier. Rousseurs en marge de la gravure originale sans atteinte à l'oeuvre sinon exemplaire frais en état quasi neuf. Joint une photographie de l'artiste.
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LASSERON & Associés
*Vente aux enchères du 30 mai 2007. Collection Durville et Divers
39 p., ill. coul. Inv. 34099
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[ART] - CATALOGUE D'EXPOSITION
Les plus belles gravures du monde occidental (1410-1914).
Paris, Bibliothèque Nationale, 1966; in-4, XVIII-222 pp., broché, couverture à rabats. Exposition à la Bibliothèque Nationale à Paris, de février à mars 1966. Préface d'Etienne Dennery, administrateur général de la Bibliothèque Nationale. Nombreuses illustrations en noir et blanc. Très bon état.
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[HISTOIRE] - BOUCHOT (Henri)
Le cabinet des estampes de la bibliothèque nationale. Guide du lecteur et du visiteur. Catalogue général et raisonné des collections qui y sont conservées.
Paris, Dentu, s.d. (vers 1900); in-8, 392 pp., broché. État moyen.
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[BIBLIOGRAPHIE] - CATALOGUE D'EXPOSITION
L'estampe aujourd'hui 73/78.
Paris, Bibliothèque Nationale, 1978; in-4, 251 pp., broché. Bon état.
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[ART] - LAVALLEYE, PROFESSEUR À L'UNIVERSITÉ CATHOLIQUE DE LOUVAIN (Jacques)
Lucas Van Leyden, Peter Bruegel l'ancien. gravures, oeuvre complet.
Paris, Arts & Métiers Graphiques, 1966; in-folio, XXVI pp. + 318 pl. hors-texte, XX pp. + 173 pl. hors-texte, 16 pp. de tables, relié pleine percaline, coloris brun, dos lisse, sous jaquette illustrée. L'oeuvre complet des estampes de Lucas van Leyden et de Peter Bruegel l'Ancien, chez un très bon éditeur. Nombreuses illustrations dont certaines en héliogravure sur les presses des Etablissements Braun. Bon état.
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[GRAVURE] - ANONYME
Vue de Musulipaiam.
Paris, s.e., s.d. (vers 1750); 165/175 mm, 1 pp., une feuille. Vue provenant certainement d'un ouvrage de voyage du XVIIIème siècle. Bon état.
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[GRAVURE] - ANONYME
Signaux par le feu.
Paris, s.e., s.d. (vers 1750); 220/160 mm, 1 pp., une feuille. Planche provenant certainement d'un livre de voyage du XVIIIème siècle. Bon état.
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[GRAVURE] - ANONYME
Plan profil et élévation des deux pyramides (Pérou).
Paris, s.e., s.d. (vers 1750); 255/195 mm, 1 pp., une feuille. Plan provenant certainement d'un livre de voyage du XVIIIème siècle. Bon état.
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[GRAVURE] - ANONYME
Kan Kang Hyen, près de Kan Cheu Fu.
Paris, s.e., s.d. (vers 1750); 165/175 mm, 1 pp., une feuille. Planche provenant très certainement d'un livre de voyage du XVIIIème siècle. Bon état.
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