3 862 résultats
1898réf. 22515Paris L. Conquet 1898 In-8, maroquin rouge, encadrement d'un quadruple filet dor pouss or sur les plats, dos nerfs orn de filets dors,double filet dor sur les coupes; doublures de maroquin vert ornes d'un large encadrement compos d'un motif floral rptition pouss or et mosaqu en maroquin vert fonc et rouge serties d'un filet dor, gardes de soie tisse motif floral, doubles gardes de papier peign, tranches dores sur brochure, couverture imprime. Etui Adolphe Cuzin.41 eaux-fortes originales d'Auguste Lepre dont un frontispice et 40 in-texte. Tirage unique limit 250 exemplaires numrots sur vlin du Marais.Exemplaire enrichi d'un double tat de chaque illustration et d'une suite de toutes les illustrations. Ravissante reliure de Adolphe Cuzin, fils de Francisque Cuzin, il ouvrit en 1900 son propre atelier de reliure, passage Dauphine et finit sa vie comme professeur et doreur.
réf. 04779Paris: Chez Aubert & Cie. Editeurs 1842. 'The Parisians at Play' Twenty Superb Hand Colored Lithograph Plates by Edmond Morin MORIN Edmond illustrator. Ces Bons Parisiens. These Good Parisians. Paris: Chez Aubert & Cie. Editeurs ca. 1842. Folio 13 3/16 x 9 5/8 inches; 335 x 245 mm. Twenty highly amusing hand colored lithograph plates all heightened with gum arabic. A few plates with light marginal foxing. Publisher's black paper over boards covers elaborately stamped in gilt with "1842 Album" in the center. Covers a little worn at joints and corners some old 'tape' stains on endpapers. An excellent example of a super rare album. This is only the second time in over 50 years that we have ever seen this suite of colored lithographs. According to OCLC there are just two copies located in libraries and institutions worldwide: The Morgan Library & Museum and the New York Public Library NY USA. Note: Neither of these copies are recorded as having color plates. The plates - all with the headline "Ces Bons Parisienes!": 1. Est-ce que vous návez pas peur d'être volé Monsieur dans un endroit aussi écarte. Are not you afraid of being robbed sir in a place so remote 2. Chasseur Chassé. Que diable me veulent-elles ces vilaines bêtes la. Hunted Hunter. What the hell do they want these ugly beasts 3. Sapristi! Quel poisson!! Damn! What a fish !! 4. Au voleur! Au voleur!!.arrétez! Thief! thief! . stop! 5. Premiére leçon de chasse First hunting lesson 6. Il rêve qu'il s'amuse. He dreams he's having fun . 7. Ouverture de la chasse dans la plaine St. Denis Opening of the hunt in the plain St. Denis 8. Monsieur voici ma carte! Sir here is my card! 9. Ce qu'on appelle un renfoncement. What is called a recess . 10. Si je tenais le gueux qui dèvalise mon ètang il passerait un fichu quart d'heure. If I got the beggar who devours my pond he would spend an awful quarter of an hour . 11. Vue prise de la marre d'Auteuil!!! View taken of the embarrassed student!!! 12. Le Retour de la Chasse. Accommodez nous ça avec beaucoup de choux beaucoup beaucoup. Le cuisinier oui ce sera un plat de choux blanc. The return of Hunting. Accommodate us with a lot of cabbage a lot a lot . The cook yes it will be a dish of white cabbage . 13. Par où faut-il passer pour aller au. Allez au diable Where do I go to go to . Go to the devil 14. STATU QUO fort dèsagrèable STATUS QUO very unpleasant 15. La Friture manquée tableau en un petít acte. La scène se passe sur la Seine. Missed the frying pan - because of a small mistake. The scene is on the Seine. 16. Partie de Campagne. Le dimanche est un jour de plaisir. et de repos Into the countryside. Sunday is a day of fun . and rest 17. Chien de Chasse Parisien. Va Cherche Azor va chercher! Parisian hunting dog. Go find it Azor go get it! 18. Pêcheur a repêcheur!. The fish has a fisherman! 19. Une Journée de Plaisir. De St. Cloud à Paris par terre. et par eau A day of pleasure. From St. Cloud to Paris on the ground . and by water 20. Une Bonne Farce. Pousse á l'eau Cadet pousse! A good joke. Push in the water Cadet push! Edmond MORIN 1825-1882 "was a French painter illustrator and engraver of some fame in his day. Wood engravings after his designs appeared in L'Illustration and Le monde illustré as well as in many books." Gordon Ray. The Art of the French Illustrated Book 1700-1914 pp. 353-354. Hennri Beraldi. Les Graveurs du XIXe Siècle volume X p. 131. Frederik Muller. La Lithographie. Ecoles Francaise Néerlandaose Allemande Anglais & Russe. No. 357. Lucien Monot. Le Prix des Estampes Anciennes et Modernes volume V p. 112. Paris: Chez Aubert & Cie. Editeurs, 1842 unknown
réf. 04779Paris: Chez Aubert & Cie. Editeurs 1842. 'The Parisians at Play' Twenty Superb Hand Colored Lithograph Plates by Edmond Morin MORIN Edmond illustrator. Ces Bons Parisiens. These Good Parisians. Paris: Chez Aubert & Cie. Editeurs ca. 1842. Folio 13 3/16 x 9 5/8 inches; 335 x 245 mm. Twenty highly amusing hand colored lithograph plates all heightened with gum arabic. A few plates with light marginal foxing. Publisher's black paper over boards covers elaborately stamped in gilt with "1842 Album" in the center. Covers a little worn at joints and corners some old 'tape' stains on endpapers. An excellent example of a super rare album. This is only the second time in over 50 years that we have ever seen this suite of colored lithographs. According to OCLC there are just two copies located in libraries and institutions worldwide: The Morgan Library & Museum and the New York Public Library NY USA. Note: Neither of these copies are recorded as having color plates. The plates - all with the headline "Ces Bons Parisienes!": 1. Est-ce que vous návez pas peur d'être volé Monsieur dans un endroit aussi écarte. Are not you afraid of being robbed sir in a place so remote 2. Chasseur Chassé. Que diable me veulent-elles ces vilaines bêtes la. Hunted Hunter. What the hell do they want these ugly beasts 3. Sapristi! Quel poisson!! Damn! What a fish !! 4. Au voleur! Au voleur!!.arrétez! Thief! thief! . stop! 5. Premiére leçon de chasse First hunting lesson 6. Il rêve qu'il s'amuse. He dreams he's having fun . 7. Ouverture de la chasse dans la plaine St. Denis Opening of the hunt in the plain St. Denis 8. Monsieur voici ma carte! Sir here is my card! 9. Ce qu'on appelle un renfoncement. What is called a recess . 10. Si je tenais le gueux qui dèvalise mon ètang il passerait un fichu quart d'heure. If I got the beggar who devours my pond he would spend an awful quarter of an hour . 11. Vue prise de la marre d'Auteuil!!! View taken of the embarrassed student!!! 12. Le Retour de la Chasse. Accommodez nous ça avec beaucoup de choux beaucoup beaucoup. Le cuisinier oui ce sera un plat de choux blanc. The return of Hunting. Accommodate us with a lot of cabbage a lot a lot . The cook yes it will be a dish of white cabbage . 13. Par où faut-il passer pour aller au. Allez au diable Where do I go to go to . Go to the devil 14. STATU QUO fort dèsagrèable STATUS QUO very unpleasant 15. La Friture manquée tableau en un petít acte. La scène se passe sur la Seine. Missed the frying pan - because of a small mistake. The scene is on the Seine. 16. Partie de Campagne. Le dimanche est un jour de plaisir. et de repos Into the countryside. Sunday is a day of fun . and rest 17. Chien de Chasse Parisien. Va Cherche Azor va chercher! Parisian hunting dog. Go find it Azor go get it! 18. Pêcheur a repêcheur!. The fish has a fisherman! 19. Une Journée de Plaisir. De St. Cloud à Paris par terre. et par eau A day of pleasure. From St. Cloud to Paris on the ground . and by water 20. Une Bonne Farce. Pousse á l'eau Cadet pousse! A good joke. Push in the water Cadet push! Edmond MORIN 1825-1882 "was a French painter illustrator and engraver of some fame in his day. Wood engravings after his designs appeared in L'Illustration and Le monde illustré as well as in many books." Gordon Ray. The Art of the French Illustrated Book 1700-1914 pp. 353-354. Hennri Beraldi. Les Graveurs du XIXe Siècle volume X p. 131. Frederik Muller. La Lithographie. Ecoles Francaise Néerlandaose Allemande Anglais & Russe. No. 357. Lucien Monot. Le Prix des Estampes Anciennes et Modernes volume V p. 112. Paris: Chez Aubert & Cie. Editeurs, 1842 unknown books
1898réf. 68998Sous étui bordé et sous chemise en demi-maroquin vert. Reliure plein maroquin vert céladon. Listel d'encadrement de maroquin vert sombre accompagné de nombreux filets dorés et à froid, dos à nerfs décoré dans le même style. Doublure de maroquin havane clair orné d'une importante bordure de fleurs et feuillages stylisés mosaïqués, délimitée par des listels de maroquin grenat et filets dorés, gardes de reps céladon. Tranches dorées sur témoins. Couverture et dos conservés. Reliure signée MERCIER, succ. de Cuzin. Dos de la chemise passé, ayant légèrement coloré l'or du dos. Belle édition, ornée de 41 eaux-fortes originales d'Auguste LEPÈRE. C'est le dernier livre publié par Conquet, il fut achevé après son décès, par Léopold Carteret.
1898réf. 73269Sous étui bordé cuir. Reliure plein maroquin bleu nuit janséniste. Dos à nerfs avec date au talon. Toutes tranches dorées. Doublures de maroquin citron orné d'un encadrement de filets, arabesques et bouquets de fleurs mosaïqués de maroquin bleu, bleu ciel et vert. Gardes de soie multicolore à dominante de vert de jaune. Couverture et dos conservés. Non rogné. Reliure signé Ch. LANOE suc. de P. Ruban. Intérieur parfait. Illustré de 41 belles eaux-fortes originales d'Auguste Lepère.
1898réf. 39440Paris Librairie Conquet 1898 In-8, maroquin vert bouteille, dos quatre nerfs orn d'une grande feuille mosaque en maroquin beige; doublures de maroquin brun ornes d'un large encadrement de filets dors, gardes de soie moire vert bouteille, doubles gardes de papier peigne, tranches dores sur brochure, couverture imprime. Etui (Ch. Meunier).41 eaux-fortes originales d'Auguste Lepre, dont un frontispice, 20 en-ttes et 20 culs-de-lampe, et 20 lettrines histories imprimes en deux couleurs. Tirage unique limit 250 exemplaires numrots sur vlin du Marais. Trs bel exemplaire enrichi d'une rare suite de 10 gravures inutilises sur vlin en double tat dont l'eau-forte pure, runies sous un titre gnral illustr d'une gravure originale de Lepre, et d'une double suite de toutes les gravures du livre galement sur vlin et en double tat dont l'eau-forte pure.
1920réf. 172104Bangalore: no stated publisher 1920. Found in just two institutional libraries First edition of this detailed unit history held by the Imperial War Museum and the Australian War Memorial Library only including eight folding maps and three original photographs concerning the campaign in Mesopotamia. "The narrative is based directly upon the War Diaries other official sources and the authors' own experiences. The result is authoritative" Perkins. "The campaign in Mesopotamia was one of the chief subsidiary operations of the Great War and it was in this campaign that Indian Troops in general and the Madras Sappers in particular played their largest part" Part I p. 1. The first section "The Madras Sappers in the Campaign in Mesopotamia 1914-1918" by Lieutenant-Colonel R. Hamilton Royal Engineers narrates the early phase of the campaign including operations on the Tigris and operations around Kut before turning to the post-Kut British reorganization the crossing of the Tigris the capture of Baghdad and the 1917-18 advance into Persia and Upper Mesopotamia. The eight maps illustrate operations near Nasiriya 1915 the relief of Kut 1917 operations in the vicinity of the Tigris British and Turkish trench systems in January 1917 near the River Hai and the advance on Baghdad. Part II Hamilton's "The Madras Sappers in the Arab Insurrection in Iraq 1920" describes "the withstanding and suppressing of an insurrection in a very extensive area where the British Forces were widely scattered the lines of communication highly vulnerable and the inhabitants warlike and well armed" p. 1. The final section "The 2nd Field Troop. The 2nd Q.V.O. Sappers and Miners in France and Mesopotamia. 1914 to 1916" is ascribed by a tipped-in slip to Major A. H. Morin Indian Army Reserve Officer who commanded the troop. Two pasted-in photographs show bridges constructed during Mesopotamia operations while a third shows boat equipment and an experimental raft. Octavo. With 7 gelatin silver photographs and photographic halftone pasted in 8 folding maps at end laid-down map with red outlining; slip tipped to table of contents as issued. Original brown cloth front cover lettered in black. Occasional pencil annotations internally. Damp stain at upper corner text unaffected binding light worn front free endpaper with small loss cockling caused by pasted-in material: very good. Perkins p. 439. hardcover
réf. LCS-18234Bel exemplaire conservé dans son vélin souple de l’époque. Paris, Charles de Sercy, 1658. In-12 de (12) ff. dont 1 frontispice, 222 pp., (1) f. d’Avis au curieux. Doublon dans la pagination p. 80 et saut ds. la pagination p. 206 sans manque. Plein vélin souple, dos lisse, titre manuscrit à l’encre en tête du dos, inscription manuscrite à l’encre sur le plat inférieur. Reliure de l’époque. 161 x 105 mm.
1895réf. 6998Paris: L. Conquet 1895. Tall 8vo approx. 10 1/2 x 6 1/4 in. 26.5 x 16 cm 166pp 2pp contents. 100 Copies Only Printed on Japan Vellum this is copy #93 signed by publisher with initials. Beautifully bound by Paul-Romain Raparlier in crushed dark blue morocco with lavish all-over design on both covers framed by double gilt fillets with dotted inner rules and small floral corner tools. On the center field repeating floral motifs with alternating rose and blossom forms form a vertical rectangle all set within a gilt foliate border. Spine with five raised bands gilt compartments and floral inlays; turn-ins decorated with gilt rules floral rolls and corner ornaments. Pale blue silk moirÈ doublures and endpapers. Original wrappers bound in. All edges gilt. Signed ìP. R. Raparlierî at the foot of the front turn-in. Edges of boards strikingly adorned with closely spaced gilt dots. Binder: Paul-Romain Raparlier 1858ñ1900 trained at the .cole des Beaux-Arts and earned a gold medal at the 1892 Exposition Internationale du Livre distinguishing himself for refined painterly surface design rather than heavy architectural tooling. His signed bindings from the fin-de-siËcle period are prized for their disciplined ornament subtle color inlay and precise finishing placing him among the more accomplished Parisian decorative binders of the 1890s. A very attractive binding. In fine condition. L. Conquet unknown
1895réf. 6998Paris: L. Conquet 1895. Tall 8vo approx. 10 1/2 x 6 1/4 in. 26.5 x 16 cm 166pp 2pp contents. 100 Copies Only Printed on Japan Vellum this is copy #93 signed by publisher with initials. Beautifully bound by Paul-Romain Raparlier in crushed dark blue morocco with lavish all-over design on both covers framed by double gilt fillets with dotted inner rules and small floral corner tools. On the center field repeating floral motifs with alternating rose and blossom forms form a vertical rectangle all set within a gilt foliate border. Spine with five raised bands gilt compartments and floral inlays; turn-ins decorated with gilt rules floral rolls and corner ornaments. Pale blue silk moirÈ doublures and endpapers. Original wrappers bound in. All edges gilt. Signed ìP. R. Raparlierî at the foot of the front turn-in. Edges of boards strikingly adorned with closely spaced gilt dots. Binder: Paul-Romain Raparlier 1858ñ1900 trained at the .cole des Beaux-Arts and earned a gold medal at the 1892 Exposition Internationale du Livre distinguishing himself for refined painterly surface design rather than heavy architectural tooling. His signed bindings from the fin-de-siËcle period are prized for their disciplined ornament subtle color inlay and precise finishing placing him among the more accomplished Parisian decorative binders of the 1890s. A very attractive binding. In fine condition. L. Conquet unknown books
1898réf. 22478Paris L. Conquet 1898 In-8, maroquin jansniste vert bouteille, dos quatre nerfs, filets dors sur les coupes; doublures de maroquin rouge serties d'un filet dor, gardes de soie verte, doubles gardes de papier mouchet, tranches dores sur brochure, couverture imprime. Etui (Ren Aussourd).41 eaux-fortes originales d'Auguste Lepre, dont un frontispice et 40 in-texte. Tirage unique limit 250 exemplaires numrots sur vlin du Marais.
1895réf. 22534Paris Librairie Conquet 1895 In-4, maroquin lavallire, encadrements de filets et roulettes dors sur les plats, dos nerfs orn de filets et petits fers pousss or; doublures de maroquin beige ornes d'un large encadrement de jeux de listels mosaqus en maroquin noir entre des filets dors, gardes et doubles gardes de papier peigne, tranches dores sur brochure, couverture imprime. Etui (Lortic fils).21 compositions dessines et graves la pointe sche par Henry Somm, dont un frontispice, 10 en-ttes et 10 culs-de-lampe. Tirage unique limit 100 exemplaires numrots sur japon la forme. Bel exemplaire enrichi d'une suite des illustrations sur japon fort en preuve avec remarques, et de 9 preuves d'artiste l'tat d'eau-forte pure avec remarques indites, relatives aux gravures des pages 3 (une preuve), 18 (une preuve avec une remarque indite), 21 (une preuve avec une remarque indite), 36 (2 preuves avec des remarques indites), 39 (3 preuves avec des remarques indites), 54 (une preuve avec une remarque indite). Reliure double signe de Lortic fils qui exera Paris de 1884 1928.
1758réf. 19714Paris: Breton Durand Pissot and Lambert 1758. Folding typographic table. Contemporary mottled calf spine and label gilt red edges. Bookplate and ownership inscription of M. Grignon ownership inscription on the half-title of Jules-Emile du Pressoir. An excellent copy. First edition the first French monograph on platinum. The author who published this book anonymously compiles the available information and studies by other natural historians before describing the metal’s properties: its weight ductility reactivity and interaction with fire. The rest of the text supplies the results of his own experiments with platinum including treating it with different salts and acids crystallization combining it with other metals and alloys and cupellation. The final chapter transcribes a curious anonymous letter about the alchemical applications of platinum. The plate lists the specific gravity of platinum in five different states. Duveen 414; Caillet 7778 “curieux et peu commun”; Goldsmiths-Kress 09352.6-1; Macdonald and Hunt A History of Platinum 44-45. Breton, Durand, Pissot, and Lambert unknown
1758réf. 19714Paris: Breton Durand Pissot and Lambert 1758. Folding typographic table. Contemporary mottled calf spine and label gilt red edges. Bookplate and ownership inscription of M. Grignon ownership inscription on the half-title of Jules-Emile du Pressoir. An excellent copy. First edition the first French monograph on platinum. The author who published this book anonymously compiles the available information and studies by other natural historians before describing the metal’s properties: its weight ductility reactivity and interaction with fire. The rest of the text supplies the results of his own experiments with platinum including treating it with different salts and acids crystallization combining it with other metals and alloys and cupellation. The final chapter transcribes a curious anonymous letter about the alchemical applications of platinum. The plate lists the specific gravity of platinum in five different states. Duveen 414; Caillet 7778 “curieux et peu commun”; Goldsmiths-Kress 09352.6-1; Macdonald and Hunt A History of Platinum 44-45. Breton, Durand, Pissot, and Lambert unknown books
1982réf. 100073355Paris. 1982. broché. 175 pages. Paris Communications n°36 1982.Broché 15 5 cm x 24 cm 175 pages. Textes de Edgar Morin Jean-Luc Giribone Umberto Eco et Isabella Pazzini Jacques Le Goff Eliséo Véron Françoise Gaillard François Wahl Violette Morin Jacques Leenhardt Julia Kristeva et Roland Barthes bibliographie générale (livres articles préfaces ouvrages collectifs interventions brèves cours radio télévision expos cinéma numéros spéciaux de revues) établie par Thierry Leguay - Très bon état
1898réf. 45396Paris Librairie L. Conquet 1898 In-4, chagrin havane, encadrement d'un filet dor sur les plats, dos sans nerfs; doublures et gardes de papier marbr, tte dore, non rogn, couverture imprime.41 eaux-fortes originales d'Auguste Lepre, dont un frontispice, 20 en-ttes, 20 culs-de-lampe et 20 lettrines histories imprimes en deux couleurs. Tirage unique limit 250 exemplaires numrots sur vlin du Marais. Un des quelques exemplaires hors commerce nominatifs (imprim pour Eugne Conquet).
réf. 31501Paris chez Victor Havard en 1878. In-4 illustré par Edmond Morin.Portrait de l'auteur en frontispice gravé par L.Flameng. N° 40/50 sur papier de Chine. Reliure signée en plein maroquin bleu de Marius Michel. Plats ornés d'un encadrement de cinq filets dorés, de fleurs mosaïquées dans les angles. Dos à cinq nerfs décorés à l'identique. Doublures et gardes de soie brochée. Doubles gardes. Tranches dorées, couverture et dos conservés. Tirage à 260 exemplaires. Magnifique exemplaire.
2012réf. 903278Thames & Hudson. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 432 pp. ; over 600 illustrations most in color. -- with a bonus offer--; Celebrates a major retrospective of the designer’s work at the Musée des ArtsDécoratifs in Paris. Jean-Paul Goude is one of the world’s most brilliant and unorthodox image makers. This book assembles the biggest collection of his work ever seen: sketches paintings magazine spreads storyboards art-directed and elaborately staged photography and photographic documentation as well as preliminary sketches for stage and street shows. From his New York days with Esquire to his latest work for Galéries Lafayette in Paris Goude has consistently surprised provoked and delighted those who have encountered his work. He was Grace Jones’s Pygmalion creating unforgettable images of her from andryogyne to cyber-superwoman to supreme diva. One of advertising’s most sought after stars Goude masterminded memorable campaigns for Chanel Perrier and Kodak among others. Around 500 images including many working documents are on show here from inspired doodles to final images. Selected and arranged by Goude himself they present a gallery of artworks that have redefined advertising and brand photography as we know them. The book includes contributions by Jean-Paul Gaultier Edgar Morin Eric Troncy George Lois and Jérôme Sans. 500 illustrations . 2012. 0500516049 . Thames & Hudson paperback
2008réf. 132082Flammarion. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened - -- with a bonus offer--; 10.12 X 1.52 X 14.4 inches; 320 pages . 2008. 208030061X . Flammarion hardcover
2007réf. 128197Somogy. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in English. 472 pp. With 438 ills. 310 col. . 31 x 24 cm. -- with a bonus offer-- . 2007. 2757200267 . Somogy hardcover
1991réf. 67859Museum. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 240 pp. With 117 ills. 28 col. . 25 x 25 cm. Description: "attitudes toward mortality in Western society this catalogue surveys metaphorical and graphic images of death embodied in an eclectic array of chiefly contemporary photographs installations sculptures videos and other works by 42 artists including Nauman Beuys Warhol Boltanski Calle Wojnarowicz and many lesser-known figures. Nine interviews in which a child a doctor a minister and others describe their personal views of death supplement ten diverse texts exploring such topics as the tradition of postmortem portraiture in 19th-century America the treatment of death in architecture and documentary photography the themes underlying Peter Greenaway's recent video project Death in the Seine and approaches to death in African American culture." -- with a bonus offer--; 0.75 x 9.75 x 9.75 Inches . 1991. Museum paperback
1889réf. 71857Reliure de l'époque bradel plein parchemin. Dos lisse avec titre manuscrit en rouge. Couverture et dos conservés. Illustré de 178 dessins par l'auteur en noir et blanc et en couleurs.
réf. 014847Louis Morin, La revue des Quat'Saisons - n°1 à 4. Paris, Ollendorff, 1900-1901. 4 volumes in-12, 326p. Ensemble complet des 4 numéros parus, un des 150 exemplaires du tirage de tête, n°58, un des 100 japon (les 50 autres étant sur chine), chaque numéro étant justifié. Morin présent ainsi sa revue : « Cette revue ne sera ni pessimiste, ni réaliste, ni grave, comme la plupart de ses consoeurs. L'art n'est-il pas un jeu, le jeu des bons esprits, qu'il faut ranger au nombre des choses pas bien sérieuses dont parle Renan ? La fantaisiste revue des Quat'Saisons tâchera d'y jouer légèrement, pour le passe-temps des gens décidés d'y jouer légèrement, pour le passe-temps des gens décidés à lutter contre le spleen qui nous envahit, et à arrêter le moins possible leur pensée sur les misères de la vie laide que nous font les lois, les préjugés, les modes et le snobisme » (p.1). Il y évoque : Les souvenirs des deux derniers quat'zarts et d'un bal du courrier français, Le bal de l'internat, Les fantaisistes à l'Exposition (Exposition universelle de 1900), La joie d'autrefois (Le soir de Venise), l'influence du Chat Noir, La mode, Les fêtes de caractère, Les danses d'Espagne et les danses d'Orient, Mme Sada Yacco, Cléo de Mérode et les danseurs du diable, L'heure du berger Terpsichore, La rue des Enfants, Le soir de Venise, La bourgeoisie marche, L'Art moderne sculpture (Le raid Rodin), Montmartre (Histoires de modèles), L'amour de l'art, Carnaval de Nice, Les masques rouges.. L'ouvrage est illustré par Louis Morin, de 400 dessins et 28 planches, en noir et en couleurs, certaines planches sont dépliantes. Demi-chagrin brun à coins, dos lisse orné, tête dorée, couvertures et dos conservés. Quelques petites épidermures aux coiffes inférieures et à un coin. Très bel exemplaire.
réf. 49748Composée en Latin par le R.P. Nicolas Trigaut de la Compagnie de Jesus. Et traduite en francois par le P. Pierre Morin de la mesme Compagnie. A Paris chez Sebastien Cramoisy ruë sainct Jacques aux Cicognes 1624. Quarto 240 x 180 mm contemporary limp vellum stained spine with old lettering in manuscript; illustrated title-leaf engraved by Michel van Lochom with depiction of the martyrs being watched over by angels 19th-century stamp of the Société des Prêtres de Saint-Irénée Lyon founded in 1833 to bottom margin; pp. 20 638 2 blank 26 1 1 blank; illustrated with 2 engraved plates and 3 full-page engravings by I. Picart in the text serving as frontispieces to each of the five Livres depicting tortures and executions of Christians in Japan; woodcut initials and headpieces; light browning and scattered spotting pale water-staining to top corners of preliminary leaves including the title and Plate I marginal water stain to Plate II and to half-a-dozen leaves in the final section; otherwise a very good copy from the library of Mexican bibliophile Florencio Gavito viscount of Alborada and Villarubio 1882-1960 his ex libris to the front pastedown. First French translation made by the Jesuit Father Pierre Morin of the De Christianis apud Iaponios Triumphis 1623 of fellow Jesuit Nicolas Trigault 1577-1628 one of the most prominent of the early Catholic missionaries in China. It is an account of the persecutions of missionaries and Japanese Kirishitan in the early years of the Tokugawa Shogunate based on missionary letters. Father Morin augments his translation with his own Supplement des cinq livres du R. Pere Nicolas Trigaut pp. 613-631 as well as a Catalogue des martyrs iaponnais qui ont endure pour Jesus-Christ depuis l'an 1612 iusques a 1620 pp. 632-636 and a Catalogue des maisons et residences de la Compagnie de Jesus ont esté contraints de quitter durant cette persecution pp. 637-638. The book's publisher Sébastien Cramoisy is associated with numerous Jesuit printings. Cordier BJ 295 hardcover
1895réf. 43125Sous étui bordé. Reliure plein maroquin havane foncé. Dos à nerfs. Plats mosaïqués de feuillages et de masques. Tranches dorées sur témoins. Encadrements intérieurs dorés doublés. Gardes de moire rose. Couverture et dos conservés. Reliure signée P. RUBAN 1896. Charmante édition de ces poèmes de Maurice Vaucaire illustrée de 35 dessins de Louis MORIN rehaussés de couleurs à l'aquarelle.