(Bernhardt, Sarah) NadarBiblio.com
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1884réf. 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
1884réf. 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
réf. 51-2218Lime Rock CT and Coral Gables FL: Bernhardt Wall 1933-1936. Sq. 4to 9 x 10 inches. bound by Wall in grey cloth spines over etched boards; dust jacket with manuscript spine label. 13 volumes. 156 etchings printed in colors on heavy wove paper plus covers and etcher's slips of which many are individually signed a few tissue guards still present. Laid in is a photographic copy of a TLS by Franklin Roosevelt thanking Wall for sending a copy of likely this work. NUMBER 6 OF 100 SETS SIGNED BY WALL and with his etcher's slip indicating that he produced the book in Coral Gables Florida. Weber Following Bernhardt Wall 1872-1956 pages 42-43.Bernhardt Wall was born in Buffalo New York on Dec. 30 1872. He studied at the Buffalo Art Student’s League then moved on to study in New York under Henry Reuterdahl and also apprenticed under William Auerbach-Levy. Wall began a career as a lithographic illustrator in 1889 working primarily as a commercial artist in New York and Buffalo. He soon became known as the "Postcard King" and designed over 5000 comic cards. The year1915 marked a defining point in Wall’s artistic career. Wall visited Colorado Nevada and California making etchings of Indians cowboys and major cities which were later published in a portfolio entitled "Under Western Skies." These proved to be very successful and the artist shortly thereafter moved to California permanently. Wall continued to produce many fine etchings of the American West and by 1930 had also become a much respected historian of the region.Bernhardt Wall was unique in that he not only drew the etchings for his books but he also printed and bound them. His books are in libraries and universities around the world including the British Museum Library of Congress the libraries of Harvard Yale Columbia and Brown Universities. His works were also in the private collections of J. P. Morgan Franklin D. Roosevelt Henry C. Frick and Dr. N.C. Mathewson. Wall etched three sitting presidents of the United States Theodore Roosevelt Warren Taft and Henry Coolidge. Other prominent individuals etched by Wall include Sam Houston Mark Twain Thomas A. Edison Abraham Lincoln and Andrew Jackson.Artist and historian Bernhardt Wall 1872-1956 was a pioneer etcher and producer of fine press books who treated a vast array of subjects including Texas and the Southwest. Historians of fine press printing have compared him to William Blake. This collection of Wall’s scrapbooks publications and correspondence was built by collector Natalie Williams of Marshall Texas. Lime Rock, CT and Coral Gables, FL: Bernhardt Wall, 1933-1936 hardcover
1920réf. 64373New York: Printed and Published by the Artist ca. 1920. One of Twenty-Six With Two of the Original Etched Zinc Plates First edition thus and one of Wall's least common and most desirable productions consisting of twenty-two original etchings printed from zinc plates in various hues with each of the plates signed by the artist in the margin accompanied by the original etched preliminaries title index and colophon. Wall had originally intended the edition to consist of fifty copies but the zinc plates did not hold up sufficiently for that many impressions and he reduced the edition to twenty-six copies so corrected on the colophon in ink and signed by him. Two of the original etched zinc plates are inlaid into the inside of the boards in this case those for two of the best of the images: "Washington Square Arch" and "A Studio." A typed transcript of some comments Wall made in 1937 about the edition is laid in along with a 1948 cover letter from Dawson's Book Shop. Weber does not note the truncation of the edition gives a variant plate count - perhaps including some of the etched prelims in his count as this copy collates complete according to the index plus the two self-portraits - and notes "many copies have a cancelled plate embedded in the cover." As noted above this copy #22 has two of the original zinc plates and unlike Father Weber's copy has the etching on the upper board imprinted in the board itself rather than on a separate label. The descriptive text leaf describes this as the "third state" of the project no doubt referring to the 1918 Ten Etchings of Greenwich Village. Quarto. Original cloth tape backed boards with etched vignette. Separation between front free endsheet and second endsheet due to the weight of the boards some creasing to spine but a very good copy internally fine. Rear panel of dust jacket present. WEBER p.31. hardcover
1920réf. 64373New York: Printed and Published by the Artist ca. 1920. One of Twenty-Six With Two of the Original Etched Zinc Plates First edition thus and one of Wall's least common and most desirable productions consisting of twenty-two original etchings printed from zinc plates in various hues with each of the plates signed by the artist in the margin accompanied by the original etched preliminaries title index and colophon. Wall had originally intended the edition to consist of fifty copies but the zinc plates did not hold up sufficiently for that many impressions and he reduced the edition to twenty-six copies so corrected on the colophon in ink and signed by him. Two of the original etched zinc plates are inlaid into the inside of the boards in this case those for two of the best of the images: "Washington Square Arch" and "A Studio." A typed transcript of some comments Wall made in 1937 about the edition is laid in along with a 1948 cover letter from Dawson's Book Shop. Weber does not note the truncation of the edition gives a variant plate count - perhaps including some of the etched prelims in his count as this copy collates complete according to the index plus the two self-portraits - and notes "many copies have a cancelled plate embedded in the cover." As noted above this copy #22 has two of the original zinc plates and unlike Father Weber's copy has the etching on the upper board imprinted in the board itself rather than on a separate label. The descriptive text leaf describes this as the "third state" of the project no doubt referring to the 1918 Ten Etchings of Greenwich Village. Quarto. Original cloth tape backed boards with etched vignette. Separation between front free endsheet and second endsheet due to the weight of the boards some creasing to spine but a very good copy internally fine. Rear panel of dust jacket present. WEBER p.31. hardcover books
1897réf. AMO-4526Paris, Librairie Charpentier et Fasquelle, 1897 1 volume in-4 (27,2 x 19 cm) broché de (6)-120 pages. Couverture illustrée d'une lithographie par Mucha (réduction de l'affiche originale de la pièce) tirée par l'imprimerie F. Champenois. Parfait exemplaire non coupé, jamais lu, très peu manipulé. Léger empoussiérage de la tranche inférieure. Exemplaire en grande partie non coupé. Edition originale. Un des rares 25 exemplaires imprimés sur papier du Japon avec double état de la couverture (également imprimée sur Japon) dont un premier état avant la lettre (également imprimé sur Japon).
réf. 164338Margate: Counter Editions 2019. Edition of 200. Signed titled dated and numbered in pencil lower right by Bernhardt. 10 colour lithograph on Somerset Velvet White 300 gsm paper. Sheet size: 60 × 76 cm. Framed size: 69.8 x 85.5 cm. Excellent condition. Presented in a dark stained oak frame with conservation acrylic glazing. unknown
