NadarLivre Rare Book
855 Ergebnisse
Best.-Nr. 398101617745Photoglyptie historique issue de la celebre revue Galerie contemporaine, litteraire, artistique, accompagnee de sa notice biographique d'origine. Sujet : Francois Coppee, celebre poete, dramaturge et romancier francais du XIXe siecle, figure populaire et membre de l'Academie francaise. Photographe : Cliche original par Nadar. Technique : Photoglyptie (Woodburytype). Ce procede photomecanique d'excellence du XIXe siecle offre des noirs profonds, un modele exceptionnel et une inalterabilite parfaite a la lumiere. Attention : tirage imprime d'epoque, non autographe, y compris pour le fac-simile de poeme manuscrit present dans le texte. Editeur : Goupil et Cie / Ludovic Baschet, Paris. Format de la feuille : In-folio, 35 x 25 cm. Texte joint : Notice biographique de 4 pages. Etat de conservation : Photoglyptie en tres belle epreuve centrale presentant le sujet de profil. Excellente nettete, tres beau modele sur les textures du vetement et du visage avec de doux contrastes. Le support en carton presente un leger jaunissement naturel. Plusieurs rousseurs (taches brunes) sont clairement visibles, reparties sur les marges du support ainsi que sur l'ensemble des feuillets de la notice textuelle.
Best.-Nr. 398102281967Portrait A. Thiers par Nadar - Photoglyptie + Texte Photoglyptie historique issue de la celebre revue Galerie contemporaine, litteraire, artistique, accompagnee de sa notice biographique d'origine. Caracteristiques de l'oeuvre : - Sujet : A. Thiers (Adolphe Thiers, 1797-1877), avocat, journaliste, historien et homme d'Etat francais, figure majeure de la politique du XIXe siecle et premier president de la Troisieme Republique. - Photographe : Cliche original par Nadar. - Technique : Photoglyptie (Woodburytype). Ce procede photomecanique d'excellence du XIXe siecle offre des noirs profonds, un modele exceptionnel et une inalterabilite parfaite a la lumiere. (Attention : tirage imprime d'epoque, non autographe, y compris pour la reproduction de lettres manuscrites presentes dans le texte). - Editeur : Goupil et Cie / Ludovic Baschet, Paris. - Format de la feuille : In-folio, 35 x 25 cm. - Texte joint : Notice biographique de 4 pages (incluant des fac-similes d'ecriture), redigee par C.V. Etat de conservation : Photoglyptie : Tres bel etat de conservation pour l'image centrale. Le tirage offre d'excellents contrastes, des noirs profonds et une grande nettete dans les details du visage et des vetements. Support cartonne / Marges : De nombreuses rousseurs sont visibles et reparties sur l'ensemble des marges de la planche photographique ainsi que sur les pages de texte (recto et verso). Les bords sont tres legerement manipules, mais l'integrite de l'oeuvre reste tout a fait satisfaisante.
Best.-Nr. 398102377292Photoglyptie historique issue de la celebre revue Galerie contemporaine, litteraire, artistique, accompagnee de sa notice biographique d'origine. Sujet : Duc Decazes (Louis Decazes), homme politique et diplomate francais, figure majeure de la Troisieme Republique et ministre des Affaires etrangeres. Photographe : Cliche original par Nadar. Technique : Photoglyptie (Woodburytype). Ce procede photomecanique d'excellence du XIXe siecle offre des noirs profonds, un modele exceptionnel et une inalterabilite parfaite a la lumiere. (Attention : tirage imprime d'epoque, non autographe). Editeur : Goupil et Cie / Ludovic Baschet, Paris. Format de la feuille : In-folio, 35 x 25 cm. Texte joint : Notice biographique de 4 pages, redigee par Charles Valois. Etat de conservation : Photoglyptie en tres bel etat pour le portrait lui-meme. Le cliche est d'une grande nettete, avec des contrastes profonds et aucun defaut majeur sur l'image. Presence tres marquee de nombreuses rousseurs reparties sur l'ensemble des marges du support cartonne. Les feuillets de texte sont egalement tachetes de rousseurs evidentes et presentent un brunissement naturel du papier lie au temps.
Best.-Nr. 398102541487Portrait de Ferdinand de Lesseps par Nadar - Photoglyptie + Texte Photoglyptie historique issue de la celebre revue Galerie contemporaine, litteraire, artistique, accompagnee de sa notice biographique d'origine. Caracteristiques de l'oeuvre : - Sujet : Ferdinand de Lesseps, diplomate et entrepreneur francais, principal promoteur et realisateur du canal de Suez. - Photographe : Cliche original par Nadar. - Technique : Photoglyptie (Woodburytype). Ce procede photomecanique d'excellence du XIXe siecle offre des noirs profonds, un modele exceptionnel et une inalterabilite parfaite a la lumiere. (Attention : tirage imprime d'epoque, non autographe. La lettre manuscrite figurant dans les feuillets est un fac-simile imprime). - Editeur : Goupil et Cie / Ludovic Baschet, Paris. - Format de la feuille : In-folio, 35 x 25 cm. - Texte joint : Notice biographique de 4 pages, redigee par Charles Valois. Etat de conservation : - Photoglyptie : Le visage presente une bonne nettete et de beaux contrastes. Cependant, la partie inferieure de l'image (sur le vetement sombre) est affectee par de nombreuses taches claires et alterations de surface bien visibles. - Support cartonne / Marges : Etat moyen. Presence de nombreuses rousseurs sur les marges du support cartonne ainsi que sur l'ensemble des feuillets de la notice biographique.
Best.-Nr. 398102639997Portrait Baron Taylor par Nadar - Photoglyptie + Texte Photoglyptie historique issue de la celebre revue Galerie contemporaine, litteraire, artistique, accompagnee de sa notice biographique d'origine. Caracteristiques de l'oeuvre : - Sujet : Baron Taylor, dramaturge, homme de lettres, artiste, philanthrope et figure intellectuelle majeure de la vie culturelle francaise du XIXe siecle. - Photographe : Cliche original par Nadar. - Technique : Photoglyptie (Woodburytype). Ce procede photomecanique d'excellence du XIXe siecle offre des noirs profonds, un modele exceptionnel et une inalterabilite parfaite a la lumiere. (Attention : tirage imprime d'epoque, non autographe). - Editeur : Goupil et Cie / Ludovic Baschet, Paris. - Format de la feuille : In-folio, 35 x 25 cm. - Texte joint : Notice biographique de 4 pages, redigee par Oscar Comettant. Inclut un fac-simile d'un manuscrit. Etat de conservation : - Photoglyptie : Tres bel etat du cliche central. L'image presente une excellente nettete, des details saisissants sur le visage et les vetements, ainsi que des noirs tres profonds et d'excellents contrastes. - Support cartonne / Marges : Etat correct. Presence de rousseurs claires eparses visibles dans les marges du support cartonne, et de maniere un peu plus prononcee sur les feuillets du texte biographique et du fac-simile. Patine et leger jaunissement naturel du papier lies au temps.
Best.-Nr. 66414,5 x 10,5 cm, tirage sur papier albuminé contrecollé sur carton, 1886. Elie Reclus, écrivain anarchiste était le frère d'Elisée Reclus.
1887Best.-Nr. 137010- Une page 24 x 32 cm.
Best.-Nr. 17790Souillac, s.d. (vers 1946), in-8, broché, couverture rempliée, 47 pp., 44 photographies reproduites en héliogravure. Contient un long poème d'Aragon en originale "Le Paysan de Paris chante", ainsi que des études sur la photographie ancienne. Ex-libris manuscrit sur le premier feuillet.
Best.-Nr. 17790Souillac, s.d. (vers 1946), in-8, broché, couverture rempliée, 47 pp., 44 photographies reproduites en héliogravure. Contient un long poème d'Aragon en originale "Le Paysan de Paris chante", ainsi que des études sur la photographie ancienne. Ex-libris manuscrit sur le premier feuillet.
Best.-Nr. ABE-1247541623914 PAGES FORMAT 17,5 CM X 22 CM-COUVERTURE ILLUSTREE EN COULEURS DE TOM KEOGH REPRESENTANT DEUX JEUNES FEMMES TENUE 1852 TENUE 1952-PRESENTATION DU MAGASIN PAR RENE HERON DE VILLEFOSSE-ILLUSTRATIONS-PHOTO PLEINE PAGE D'ARISTIDE BOUCICAUT PAR NADAR-MARGUERITE BOUCICAUT,PAR BOUGUEREAU,PLEINE PAGE-LEGERES ROUSSEURS EN 4 EME DE COUVERTURE-LEGERE DECHIRURE EN MARGE DR DE 4 DE COUVERTURE-BON EXEMPLAIRE (CPP3)
1884Best.-Nr. 353598Paris: Nadar 51 rue d'Anjou 1884. Half length portrait with hands at waist right hand on an ornamental belt. 1 vols. 13-1/2 x 7-1/2 inches. On black card mount lettered in gilt at foot and on verso. Old gilt frame by Walker Gallery Westport Conn. Half length portrait with hands at waist right hand on an ornamental belt. 1 vols. 13-1/2 x 7-1/2 inches. Attractive portrait of the young Sarah Bernhardt inscribed above her head. The most logical candidate for "Mademoiselle Moore" would seem Eva Moore 1870-1965 who had a long stage career and from 1920 made many films. She was quite well known married to actor-manager H. V. Edmond. Theater critic and translator Michael Feingold 1945-2022 knew Eva Le Gallienne 1899-1901 when he was a student a Yale. Provenance: Eva Le Gallienne; Michael Feingold Nadar, 51 rue d'Anjou unknown books
Best.-Nr. 148780GONCOURT Edmond de. Portrait for La Galerie Contemporaine by Nadar. Woodburytype print with artist's information printed on mount matted and framed in polished dark wood. Paris: Nadar ND. A visually arresting portrait of Edmond de Goncourt by famed portrait photographer Nadar Gaspard-Felix Tournachon 1820-1910. "Nadar's notoriety in photography came after successful careers first in writing and publishing and then in caricature. Nadar's turn to portrait photography appears to be a natural progression from his work in caricature." "Galerie Contemporaine stands out due to its ambitious scope as well as for the quality of the photographic imagery it contained. Underpinned by a certain patriotic sentiment and a more sophisticated approach to celebrity the subtitle Litteraire Artistique declares the work's focus of interest to be high art. In fact Galerie Contemporaine evolved into the most impressive set of celebrity portraits published in nineteenth-century France forming a vital visual record of the leading figures who shaped public life in science and politics as well as the arts during the Second Empire and the emergent Third Republic." Hannavy John editor. Encyclopedia of Nineteenth-century Photography p. 971 and 567. unknown books
1856Best.-Nr. 84662Paris: Nadar 1856. Fine. Nadar Paris 1856 6.50 x 10.50 cm une feuille Original photographic portrait of Alfred de Vigny seated in profile in a velvet armchair mounted at an early date on stiff grey card. The poet sits with his arms folded his gaze directed beyond the frame holding a propelling pencil in his right hand. Early manuscript caption in ink along the lower margin of the mount Le C.te Alfred de Vigny with NADAR inscribed in capitals in the right margin. From a collector's album. Small area of superficial loss to the mount in the foreground beneath the sitter's hand. The composition belongs to Nadar's earliest sittings with Vigny. The Musée d'Orsay preserves among others a portrait dated circa 1854 showing the writer in a closely related pose seated in profile against a deliberately spare background; the same iconography was subsequently circulated in different formats. By the mid-1850s Alfred de Vigny had long been one of the major figures of French Romanticism while his presence in literary and social life had become increasingly discreet. He was still working on the philosophical poems that would be collected posthumously as Les Destinées. Nadar's portrait appears particularly consonant with the image the ageing writer fashioned of himself: no theatrical setting scarcely an accessory only the controlled rigidity of the pose the sharply defined profile and the gaze directed into the distance. The propelling pencil held in his right hand provides the composition's only explicit allusion to his vocation as a writer. Yet the attitude is less that of an author caught at work than of a man consciously constructing his own likeness: the folded arms close the silhouette while the profile removes his gaze from that of the viewer. In this economy of means the portrait closely accords with the reserve distance and self-command that had become central to Vigny's public persona. A small insignia appears at his collar probably the rosette of the Légion d'honneur. Vigny a Chevalier since 1833 was promoted to Officer in 1856; the detail is therefore consistent with a date in the middle of the decade. Nadar himself was then entering the most inventive period of his photographic career. Working from his rue Saint-Lazare studio he increasingly dispensed with the elaborate props and settings still common in commercial portraiture concentrating instead upon physiognomy posture and the presence of the sitter. Vigny thus belongs to the first generation of writers whose likenesses he fixed at the moment when photography was beginning permanently to shape the public image of literary figures. With its severe pose and extreme economy of setting this portrait closely accords with the late image Vigny sought to leave of himself; made during Nadar's formative years as a photographer it brings together the almost hieratic self-fashioning of the writer and one of the foundational moments of French literary portrait photography. Nadar unknown
1867Best.-Nr. 71239Paris: Nadar 1867. Fine. Nadar Paris s. d. 1867 6.60 x 10.40 cm une photographie Nadar Paris N.D. but 1867 66x10.4 cm photograph Original photograph on albumin paper in a visiting card format laid down on card by Nadar initialed and with a red border. Doré poses with his arm on a fringed chair the same as in the portraits of Théophile Gautier Edouard Manet and Alexandre Dumas. Manuscript annotation to verso. We have not been able to find any copies of this photograph in any of the international public collections. Nadar unknown
1888Best.-Nr. 92029Paris: Paul Nadar 1888. Fine. Paul Nadar Paris s. d. 1888 - 1900 11 x 16.4 cm une photographie Paris Nadar studio negative circa 1888 print circa 1900-1924. Cabinet-card photograph. Albumen print mounted on the Nadar studio card. Maupassant is shown bust-length in left profile. The mount bears the printed name ""P. Nadar"" at the head and the studio signature printed in red in the lower margin. The verso gives the addresses 51 rue d'Anjou and 53 rue des Mathurins together with Paul Nadar's distinctions at the 1900 Exposition Universelle: hors concours member of the jury Class XII. These details make it possible to distinguish clearly between the date of the sitting and that of the present print. The negative is generally dated to 1888 although 1890 has also been proposed whereas the mount cannot predate the 1900 Exposition Universelle. The present photograph is therefore a later print made by the studio from an earlier negative probably between 1900 and the transfer of the rue d'Anjou premises in 1924. Paul Nadar who had worked full-time in the studio from 1876 had assumed its artistic direction by 1880 and thereafter signed most of its portraits. A label mounted on the verso reads: ""Gaston Bernard / 174 rue de Rivoli / Paris / Estampes"" recording the photograph's passage through this Paris establishment. At least two closely related poses of Maupassant from this sitting are known one showing his right profile and the other his left as here. In the latter the face turned almost entirely away from the viewer together with the moustache and sharply defined line of forehead and nose creates an immediately recognisable silhouette. The image was to become one of the writer's most familiar photographic portraits. The paradox is particularly striking since Maupassant consistently resisted the public dissemination of his likeness. He had little taste for the construction of a public image of the writer and explicitly protested against the reproduction of his portraits. Octave Uzanne who had known him personally reproduced in 1902 an autograph note in which Maupassant expressed his position unequivocally: ""I have made it an absolute rule never to allow my portrait to be published whenever I can prevent it. The exceptions have occurred only by surprise. Our works belong to the public but not our faces."" This reluctance partly accounts for the relative scarcity of his photographic iconography. Less than a decade after Maupassant's death Uzanne already observed that authentic likenesses of the writer consisted essentially of a small number of photographs taken full-face in profile or three-quarter view. He singled out the portrait of 1888 as the one in which he most readily recognised his lost friend: the Maupassant of Le Horla and Sur l'eau then at the height of his literary fame. The photograph belongs precisely to this period. Pierre et Jean and Sur l'eau appeared in 1888 while Bel-Ami published three years earlier had already established Maupassant before a wide readership. The Nadar profile thus fixes the writer at the moment when his face might naturally have become that of a literary celebrity precisely when he was attempting to prevent such a transformation. The present print is all the more revealing for having been produced after his death. The negative retained by the studio continued to be used after 1900 on a mount now advertising Paul Nadar's latest distinctions. The image Maupassant had wished to withhold from public curiosity survived him and entered the commercial repertoire of a photographic house celebrated for its portraits of prominent figures. A photographic sitting had gradually become an icon. A rare cabinet-card portrait of Maupassant printed after 1900 from a negative made circa 1888 by the Nadar studio. Of the writer who insisted that ""our works belong to the public but not our faces"" this photograph was destined to preserve one of the most recognisable faces of all. Â Paul Nadar unknown
1856Best.-Nr. 73025Paris: Nadar 1856. Fine. Nadar Paris s. d. 1856 6.50 x 10.20 cm une photographie Original albumen print photograph depicting Alphonse de Lamartine in carte-de-visite format mounted on studio card from Nadar ""35 boulevart des Capucines"". This photograph taken in 1856 was marketed between 1862 and 1871 as evidenced by the photographer's address on the back of the card. Pen annotation on the reverse of the photograph. Nadar unknown
1979Best.-Nr. 113298Artur Hubschmid 1979. Hardcover. Very good/Good. In French. Two volumes of Nadar's photography drawings and writings. Covers sunned along edges. Jackets edgeworn and chipped. Artur Hubschmid hardcover
Best.-Nr. 148780GONCOURT Edmond de. Portrait for La Galerie Contemporaine by Nadar. Woodburytype print with artist's information printed on mount matted and framed in polished dark wood. Paris: Nadar ND. A visually arresting portrait of Edmond de Goncourt by famed portrait photographer Nadar Gaspard-Felix Tournachon 1820-1910. "Nadar's notoriety in photography came after successful careers first in writing and publishing and then in caricature. Nadar's turn to portrait photography appears to be a natural progression from his work in caricature." "Galerie Contemporaine stands out due to its ambitious scope as well as for the quality of the photographic imagery it contained. Underpinned by a certain patriotic sentiment and a more sophisticated approach to celebrity the subtitle Litteraire Artistique declares the work's focus of interest to be high art. In fact Galerie Contemporaine evolved into the most impressive set of celebrity portraits published in nineteenth-century France forming a vital visual record of the leading figures who shaped public life in science and politics as well as the arts during the Second Empire and the emergent Third Republic." Hannavy John editor. Encyclopedia of Nineteenth-century Photography p. 971 and 567. unknown
1880Best.-Nr. 73633Paris: Nadar 1880. Fine. Nadar Paris 1880 10.70 x 16.60 cm une photographie Original albumen photograph in cabinet card format mounted on cardboard. At the bottom of the photograph: Aimé dupont 574 fifth Avenue New-York. Portrait of the actress taken in New-York during the great American tour of 1880-1881 256 performances in 50 cities. Sarah Bernhardt poses in elegant Parisian attire her gaze turned skyward. Signed in the plate: Copyright by A. Dupont. Good overall condition one dark stain on the right of the photograph near the margin. Aimé Dupont was a Belgian photographer first active in Brussels then in Paris. He settled in New-York with his American wife Etta Greer herself a photographer. Already in Paris the photographer had specialized in photographs of actors and singers from the Opera and he renewed this specialty for the New-York opera and all the French artists who came to the USA. It is therefore not surprising that Sarah Bernhardt visited his studio to create a recent photograph dedicated to her American tour. Nadar unknown
1983Best.-Nr. ABE-168609355229064 PAGES-IN 4-(EM323)
Best.-Nr. 13779Photographie originale d'un format exceptionnellement grand (44 x 35 cm), sur papier albuminé avec importants rehauts de gouache marron dans les cheveux, la robe, les chaussures et dans le décor, contrecollée sur carton, papier bleu collé au verso.Tirage viré au sépia, taches de gouache sur le visage de l'enfant, traces de montage ancien au verso
Best.-Nr. 022165[Nadar] Alice Ducasse (1841-1923), soprano, professeur. Photographie dédicacée, 1898, format cdv. Jolie photographie portant la dédicace à l'organiste Charles Amouroux (1832-1911) : « A Mr Ch Amouroux, souvenir affectueux de son ancienne élève. Al Ducasse. Paris 1898 ». Charles Amouroux était organiste de la cathédrale de Bordeaux. Rare autographe. [537]
1900Best.-Nr. 50259- Photographie 4 x 7, 5 cm. Notice biographique collée au dos.
1900Best.-Nr. 52511- Photographie 4 x 7, 5 cm. Notice biographique collée au dos.
1900Best.-Nr. 53614- Photographie 4 x 7, 5 cm. Collée sur carton.
