ELUARD (Paul)Livre Rare Book
9 996 résultats
1951réf. 30428Dernier texte d'Éluard pour son ami Picasso. Manuscrit autographe S.l.n.d. [circa 1951]. 9 pages 1/2 en 10 f. (210 x 270 mm) à l'encre et au stylo bille sur papier «Montévrain - extra strong». Manuscrit autographe.
1937réf. 2978719 illustrations de Kay Sage. Exemplaire de tête avec aquarelle originale. Florence, Edizioni del Milione, (15 décembre) 1937. 1 vol. (175 x 250 mm) de 84 p. et [2] f. Toile éditeur titrée au premier plat. Édition originale. Poèmes et 19 illustrations de Kay di San Faustino [Kay Sage] dont 1 aquarelle originale en frontispice. Un des 50 premiers exemplaires sur japon (n° 17), signé. Seul le tirage de tête comporte l’aquarelle originale signée. Envoi signé : « À André Marchand, avec mon estime et avec mon amitié. K. di San Faustino ».
réf. 16-6508Strasbourg: F. G. Levrault 1816-1830. 8vo. 15 x 24cm. Original marbled boards unrestored. 723 plates in 5 volumes.OCLC Number / Unique Identifier:1442402481. See detailed description in French infra: .Cuvier Brongniart Jussieu Lacépède. - Dictionnaire de sciences naturelles. Partie atlas seule composée de 5 volumes in-8 en reliures cartonnées d'attente réunissant 723 planches majoritairement en couleurs dessinées par Turpin ou Prêtre et gravées par Bessin Boquet Calais Carnonkel Coignet Coutant David Dien Forestier Gabriel Gelée Giraud Guyard Joyeau Legrand Lemaire Louvier Massard Nargeot Plée Prudhon Schmelz Six Deniers Turcaty Victor. L'ouvrage est paru de 1816 à 1830 et comportait 61 volumes de texte et 11 d'atlas pour 1220 planches. Notre exemplaire est donc incomplet du texte et de 497 pll. Couleurs éclatantes rousseurs éparses en bordures. La répartition thématique est la suivante : T 1 2 3 : Botanique 469 pll. - T 5 Conchyliologie 93 Erpétologie 1 - T 7 : Zoologie dont Actinozoaires 37 Amorphozoaires 4 Infusoire 1 Apodes 3 Entomozoaires 18 Malentozoaires 4 Malacozoaires 11 Aporobranches 1 Radiaires 1 Phytozoaires 2 Prentomozoaires 1 Chétopodes 26 Pulmobranches 1 Malacologie 8 Polypiers Pierreux 10 Mollusques 1 Polypiaires 8 Minéralogie 7 pll. Cristallisation 16 pll. en noir [ Strasbourg: F. G. Levrault, 1816-1830] hardcover
réf. Design by Aud BækkelundIn Pristine Condition. unknown
réf. 8643Maison Ch. Mueller, S. Samuel et Cie successeurs, Bruxelles. S.l., s.n., s.d. [automne 1927]. 22 x 15,4 cm, 36 pp. Illustré de 16 reproductions de gouaches ou collages non signés, dont deux reproduits en quadrichromie, tous de René Magritte, placés en regard de textes anonymes, mais de la plume de Paul Nougé. Couverture avec quelques rousseurs au dos une petite déchirure sinon bon exemplaire. Réf. : Schwilden, Magritte et l'image, page 50, 124 [Fig. 29 et 110]. Ancienne collection R.C.
réf. 8643Maison Ch. Mueller, S. Samuel et Cie successeurs, Bruxelles. S.l., s.n., s.d. [automne 1927]. 22 x 15,4 cm, 36 pp. Illustré de 16 reproductions de gouaches ou collages non signés, dont deux reproduits en quadrichromie, tous de René Magritte, placés en regard de textes anonymes, mais de la plume de Paul Nougé. Couverture avec quelques rousseurs au dos une petite déchirure sinon bon exemplaire. Réf. : Schwilden, Magritte et l'image, page 50, 124 [Fig. 29 et 110]. Ancienne collection R.C.
réf. 8904S.l. [Paris], Jean Audouin, 1975. Texte, sérigraphies en couleurs, collages et eaux-fortes de Michel Seuphor. In-plano carré, 520 x 510 mm, [2]-58 pp-[8], entièrement monté sur onglets, 14 sérigraphies originales en couleurs hors-texte dont certaines avec collages, celles-ci, justifiées et signées par Michel Seuphor.Édition originale du poème de Michel Seuphor écrit au printemps 1974, tiré à 100 exemplaires numérotés et 10 exemplaires de collaborateurs notés "a" à "j", sous cette présentation.Notre exemplaire fait partie de ce dernier tirage, exemplaire de collaborateur, ici justifié a, signé par lartiste et léditeur. Reliure en parchemin et dos plat en chagrin de Madras noir dédition.Le premier plat est paré dune plaque incrustée, ajourée, en métal mat au format carré, auteur et titre en grandes lettres argentées ; le second plat est orné dun grand cercle formé par un filet doré et nom de léditeur de même. Doublures et gardes volantes ornés de sérigraphies originales de lartiste. Dans la doublure du second plat est encastrée une autre présentation de cet ouvrage, de tirage identique, au format in-8°, 230 x 158 mm, sur papier soie cabrol filigrané cercle et carré, justifié et signé par M. Seuphor. Il contient deux eaux-fortes originales de lauteur, numérotées et signées, la couverture en sérigraphie.Suite et dessin sous chemise de papier au sein du coffret. Quelques piqûres dans louvrage et sur la boîte.Exceptionnel exemplaire car enrichi dune suite, sous chemise séparée, des sérigraphies tirées sur papier Auvergne filigrané cercle et carré. Elles sont toutes signées et justifiées par Seuphor. Il comporte aussi lencre originale avec collage sur carton qui a servi de matrice à la sérigraphie de la doublure du premier plat. Elle est légendée, signée et datée 23 XI 74. Emboîtage déditeur, en pur fil de lin (défraîchi). Il sagit pour nous de son oeuvre bibliophilique majeure. Exemplaire A de Michel Seuphor, son exemplaire personnel provenant de ses Archives.Nous précisons encore quil semble évident que les 100 exemplaires annoncés sous ce format nont jamais tous été réalisés. Il y a 10 années de cela, nous vendions lexemplaire des Archives Audouin, exemplaire B de léditeur, avec le dessin original de la seconde garde. Nous avions également eu loccasion de racheter à lépoque un ensemble libres de sérigraphies numérotées de cet ouvrage qui nont donc jamais été associés à la série des 100 exemplaires de tête initialement prévus lors de lédition.
réf. 8904S.l. [Paris], Jean Audouin, 1975. Texte, sérigraphies en couleurs, collages et eaux-fortes de Michel Seuphor. In-plano carré, 520 x 510 mm, [2]-58 pp-[8], entièrement monté sur onglets, 14 sérigraphies originales en couleurs hors-texte dont certaines avec collages, celles-ci, justifiées et signées par Michel Seuphor.Édition originale du poème de Michel Seuphor écrit au printemps 1974, tiré à 100 exemplaires numérotés et 10 exemplaires de collaborateurs notés "a" à "j", sous cette présentation.Notre exemplaire fait partie de ce dernier tirage, exemplaire de collaborateur, ici justifié a, signé par lartiste et léditeur. Reliure en parchemin et dos plat en chagrin de Madras noir dédition.Le premier plat est paré dune plaque incrustée, ajourée, en métal mat au format carré, auteur et titre en grandes lettres argentées ; le second plat est orné dun grand cercle formé par un filet doré et nom de léditeur de même. Doublures et gardes volantes ornés de sérigraphies originales de lartiste. Dans la doublure du second plat est encastrée une autre présentation de cet ouvrage, de tirage identique, au format in-8°, 230 x 158 mm, sur papier soie cabrol filigrané cercle et carré, justifié et signé par M. Seuphor. Il contient deux eaux-fortes originales de lauteur, numérotées et signées, la couverture en sérigraphie.Suite et dessin sous chemise de papier au sein du coffret. Quelques piqûres dans louvrage et sur la boîte.Exceptionnel exemplaire car enrichi dune suite, sous chemise séparée, des sérigraphies tirées sur papier Auvergne filigrané cercle et carré. Elles sont toutes signées et justifiées par Seuphor. Il comporte aussi lencre originale avec collage sur carton qui a servi de matrice à la sérigraphie de la doublure du premier plat. Elle est légendée, signée et datée 23 XI 74. Emboîtage déditeur, en pur fil de lin (défraîchi). Il sagit pour nous de son oeuvre bibliophilique majeure. Exemplaire A de Michel Seuphor, son exemplaire personnel provenant de ses Archives.Nous précisons encore quil semble évident que les 100 exemplaires annoncés sous ce format nont jamais tous été réalisés. Il y a 10 années de cela, nous vendions lexemplaire des Archives Audouin, exemplaire B de léditeur, avec le dessin original de la seconde garde. Nous avions également eu loccasion de racheter à lépoque un ensemble libres de sérigraphies numérotées de cet ouvrage qui nont donc jamais été associés à la série des 100 exemplaires de tête initialement prévus lors de lédition.
réf. 16-3425Paris: Fortin Masson & Co. 1836-1849. 4to. 17 x 26.5 cm. Contemporary morocco-backed boards spines tooled in gilt worn several with detached covers.10 sections bound in 19 vols. additional engraved titles with portrait 994 engraved plates of 995 called for by Nissen lacking one in reptile volume after Deshayes Milne Edwards Oudart E. Travies Werner and others many hand-colored or color-printed several folding one loose tissue guards spotting and occasional browning Anker 111; Nissen 213; Wood p.307 Sitwell Fine Bird Books 1700-1900 p.89.Cuvier's work was the "most influential exposition of the typological approach to animal classification representing the greatest body of zoological facts that had yet been assembled" Norman. This third edition referred to as the "Disciples Edition" as it was edited and arranged by Cuvier's pupils originally appeared in 262 livraisons. Paris: Fortin, Masson, & Co., [1836-1849] hardcover
réf. 51-5969Nuremberg: Peter Conrad Monath 1719. Folio. 21.5 x 34.3cm. Contemporary catspaw calf rebacked preserving original gilt-tooled spine with red morocco label marbled edges; Dutch patterned endpapers front free endpaper replaced with handmade marbled paper. Half-title engraved portrait of the author engraved frontispiece title printed in red and black 23 engraved plates one double-page engraved map small hole with loss of a few letters to final 4 leaves of index Mendelssohn I p.842 folio 345 x 210mm. .FootnotesSCARCE FIRST EDITION of "one of the first works in German devoted entirely to the Cape region of South Africa. Aware of the conflicting information promulgated by many Europeans Kolb recorded his voyages in part 'to oblige the learned and curious part of the world with a useful and entertaining history of a country and people of whom we have had hitherto such various and uncertain accounts'" Howgego. Kolbe 1675-1726 lived at the Cape from 1705 till 1713 and based his account on first hand experience.FIRST EDITION. Kolbe lived and worked at the Cape from 1705 till 1713 and decribes in his Caput bonae spei hodiernum South Africa and the Cape of Good Hope including its geography climate flora and fauna followed by an interesting and accurate account of the Hottentots based on the author's first hand experience recording their language religion education and customs. This edition was followed by the French edition Description du Cap de Bonne-Esperance. Amsterdam 1742.OCLC Number / Unique Identifier:51407544: Physical Description:18 846 82 pages 17 unnumbered leaves of plates 1 folded : illustrations map portrait ; 34 cmProvenance: Lavington bookplate. Nuremberg: Peter Conrad Monath, 1719. unknown
réf. 16-3658Stockholm Impr. chez C. Deleen et J. G. Forsgren1801-02. Oblong folio. 44 x 57.5 cm. Old cardboard covers. Engraved half title without publisher's name and 60 aquatint plates with tissue guards. Light marginal foxing but fresh appearance. Armorial bookplate.The drawings are all made by Skjöldebrand and 31 are also engraved by him the others engraved by M. Heland J. F. Martin and C. Agrell. Skjöldebrand travelled together with Acerbi. There are 29 plates showing Norway.Collation: 2 60 leaves. OCLC Number: 458889324; Brunet V-408 / Graesse VI-1er-420; Bring 315a; Schiötz 966a; Library of Congress Control Number04008485.In-plano à l’italienne cartonnage papier de l’époque. /// 1f.-60 pl.Premier tirage de ce recueil de 60 planches dont une carte et 59 planchesdessinées par Skjöldebrand et gravées à l’aquatinte par Skjöldebrand 31Heland 17 Akrel 5 Martin 5 et une non signée. Le recueil est précédé d’unfaux-titre.2 des gravures sont à 2 sujets.Cartonnage usé avec dos manquant. Manque le titre faux-titre détaché etquelques rousseurs marginales.Expertise by :Emmanuel LHERMITTEAssesseur de la Commission de conciliation et d’expertise douanièreMembre de la Compagnie Nationale des ExpertsAssisté de Stéphanie MARTIN Stockholm, Impr. chez C. Deleen et J. G. Forsgren,1801-02 unknown
réf. 1107625 finely color-printed double-page woodcuts. 25.5; 15; 21.5 folding leaves. Three vols. 8vo orig. semi-stiff wrappers orig. block-printed title-slips on upper covers new stitching. Edo: 1853-54. First edition of this finely illustrated book which rarely appears complete in all three volumes. The “KyÅka Edo Hanabi SenryÅ has sub-titles that show the sort of specialization that was associated with the three leading Utagawa artists. Volume One by Hiroshige entitled ‘Nihonbashi Section’ consists mainly of views of central Edo figures in some prints threading their way through the hanging curtains of calligraphy showing the second floor of a brothel; Volume Two by Kuniyoshi related to the ‘licensed quarter’; and Volume Three by Kunisada = Toyokuni san sei to ‘theatre-land’.”–Hillier The Art of the Japanese Book p. 848 & image 559. At the time of publication these three members of the Utagawa school were at the pinnacles of their careers. The color-printed illustrations depict the fish markets of Nihonbashi the pleasure quarter of Yoshiwara and the backstage preparations in a kabuki theater. The witty and humorous kyÅka poetry appears with the images. Fine and fresh set preserved in an attractive modern chitsu. In the first volume the first 13 leaves have a wormhole maximum 50 mm. in length and becoming shorter as one progresses. This wormhole expertly repaired throughout is present in the woodcuts. unknown
réf. 1107625 finely color-printed double-page woodcuts. 25.5; 15; 21.5 folding leaves. Three vols. 8vo orig. semi-stiff wrappers orig. block-printed title-slips on upper covers new stitching. Edo: 1853-54. First edition of this finely illustrated book which rarely appears complete in all three volumes. The “KyÅka Edo Hanabi SenryÅ has sub-titles that show the sort of specialization that was associated with the three leading Utagawa artists. Volume One by Hiroshige entitled ‘Nihonbashi Section’ consists mainly of views of central Edo figures in some prints threading their way through the hanging curtains of calligraphy showing the second floor of a brothel; Volume Two by Kuniyoshi related to the ‘licensed quarter’; and Volume Three by Kunisada = Toyokuni san sei to ‘theatre-land’.”–Hillier The Art of the Japanese Book p. 848 & image 559. At the time of publication these three members of the Utagawa school were at the pinnacles of their careers. The color-printed illustrations depict the fish markets of Nihonbashi the pleasure quarter of Yoshiwara and the backstage preparations in a kabuki theater. The witty and humorous kyÅka poetry appears with the images. Fine and fresh set preserved in an attractive modern chitsu. In the first volume the first 13 leaves have a wormhole maximum 50 mm. in length and becoming shorter as one progresses. This wormhole expertly repaired throughout is present in the woodcuts. unknown books
1728réf. 365The Hague Netherlands: Pieter de Hondt 1728. First Edition. Contemporary fine mottled full calf. FINE. Gerard Hoet Arnold Houbraken Bernard Picart. One of the most beautiful collections of illustrated scenes from the Bible published in the 1700s. This masterful suite of drawings was initiated by the renowned artist Bernard Picart in 1720 with the assistance of the Dutch painter Gérard Hoet and his protege Arnold Houbraken for what would undoubtedly become the pinnacle of the Figures of the Bible genre. Figures of the Bible engravings represent or signify scripture through cycles of prints covering the entire Bible and was first popularized in the 1500s. Condition: FINE interior for a nearly 300-year-old folio FINE to VERY FINE PLATES. Complete. An exemplary copy. BOOK INFO Translated Title: Figures of the Bible. Scenes of the Principal Histories of the Old and New Testament And Other Books Added to the Holy Scripture Drawn by the Renowned Artists Hoet Houbraken and Picart and Engraved by the Best Masters in Copper and Fully Described. Three volumes bound together. Published in 1728 by Pieter de Hondt in The Hague Netherlands. First edition. Descriptive text of the plates/Bible scenes in Dutch by Jacques Saurin. Second engraved title pages in French. Polyglot plate captions in six languages Dutch English French German Latin and either Hebrew Old Testament and Apocrypha or Greek New Testament. Vignette titles pages in red and black. Bound in contemporary fine mottled full calf: spine with seven gilded raised bands separating compartments richly ruled and tooled in gilt and a gilt-lettered red morocco spine label in compartment two. All board edges with a gilt roll. All page edges speckled. Heavy crown folio 16.5" x 11" x 3.5" thick. Collated and complete: 3 blanks 4 148 i.e. really 150 as 10-11 page numbers repeated twice pp.; 2 149-280 i.e. 151-282 for aforementioned reason 14 pp. 4 160 pp. 3 blanks; 214 copper engraved plates including 2 frontispieces 2 engraved dedication pages and 29 double page; 3 vignette title pages; 2 additional engraved title pages; Hundreds of historiated and decorated engraved initials; hundreds of engraved vignette head- and tail-pieces or exquisite engraved cul-de-lampe chapter ends. Thick high-quality wide-margined paper particularly the stunningly white paper used for the plates. A monumental publication of the highest quality and one of the finest books of engravings of the 18th century. CONDITION REPORT FINE INTERNALLY for a large nearly 300-year-old folio. Exterior and binding: Firm binding hinges and joints. Spine and its gilt work remarkably well preserved heavy volumes such as this are often rebacked or with significant binding strain/issues. Board edge gilt work remarkably well preserved more worn on bottom edge from shelf rubbing. Leather is colorful and supple. Rubbing to boards with some scratches scuffing a few spots of dried white paint on rear board and some splotches of leather darkening. Lightly rubbed edges and corners quite scarce given the size and age. Amazingly the top edge is not darkened caused by layers of dust accumulation over many years in nearly all antiquarian books. This book has clearly been safely stored away from the sun and dust for hundreds of years. Quite beautiful with stunning shelf appeal. Recommend storing book on its side to reduce strain on the binding. Interior: FINE. Very light dust to endpapers quite scarce some toning to endpapers. Pages are white and bright and mostly quite clean aside from some light marginal finger soiling on occasion. Plates are well struck vivid and clean. Nearly all plates are beautifully FINE to VERY FINE VF when the pages are impressively as white as the day they were cut chiefly toward the latter half of the book. Only a few leaves with some toning/modest foxing. No foxing to an infrequent spot of foxing otherwise. A few leaves with small nicks/areas of very small loss to margin not affecting text. A cluster of bent page corner tips in the third part. A hole affecting the page numbers in an Apocrypha related leaf. Some other signs of light handling. No water dampening no worming no writing no ex libris marks no former owner bookplates. All in all a superior remarkably preserved collectible copy of one of the finest illustrated books of the 18th century. ABOUT THE ARTISTS Bernard Picart or Picard 1673 - 1733 was a French draughtsman engraver and book illustrator in Amsterdam who showed an interest in cultural and religious habits. Most of his work was book-illustrations for which he collaborated with local artists like Gerard Hoet and Arnold Houbraken. The illustrations were used in various publications including Taferelen der voornaamste geschiedenissen van het Oude en Nieuwe Testament 1728. Gerard Hoet 1648 - 1733 was a Dutch Golden Age painter and engraver. Gerard Hoet trained with his father and brother who were glass painters. in 1697 he founded a drawing academy in Ultrecht. During this period he painted decorations in leading homes of gentlemen in the Utrecht area. In 1715 he returned to The Hague where he spent the rest of his life often collaborating on drawing projects with Picard. Jacobus Houbraken 1698 - 1780 was a Dutch engraver and the son of the artist and biographer Arnold Houbraken 1660-1719 whom he assisted in producing a published record of the lives of artists from the Dutch Golden Age. Houbraken devoted himself almost entirely to portraiture and became quite famous often dubbed the Dutch Hogarth. Pieter de Hondt unknown
1789réf. 30655Reliure de présent en maroquin rouge, avec envoi autographe signé Paris, De l'Imprimerie de Monsieur, 1789. 1 vol. (75 x 130 mm) de 1 f., xxxv et 243 p. Maroquin rouge, deux filets dorés bordant une chaînette d'encadrement dorée sur les plats, dos lisse orné, pièce de titre de maroquin vert, monogramme doré « SM » au centre des plats, roulette intérieure (reliure de l'époque). Première édition séparée. Elle est ordonnée par Pierre François Didot, le jeune, avec une édition luxueuse sur un papier de choix provenant de ses papeteries d’Essonne, qu’il enrichit d’illustrations – l’édition sur papier ordinaire n’en contenant pas : 4 figures de Moreau le Jeune, la dernière en collaboration avec Joseph Vernet, gravées sur cuivre par Girardet, Halbou et Longueil. Envoi signé : « pour Mademoiselle Mesnard de Conichard, par l’auteur, De Saint-Pierre ».
réf. 409515From the Bart Auerbach Collection. Consisting of 188 autograph letters signed and one autograph postcard signed 336 pages 12mo and 8vo plus 25 related items. As below:. Sir Lawrence Alma-Tadema 1836-1912. 38 autograph letters signed 52 pages nearly all 12mo about half in French most signed "L Alma-Tadema" a few signed just with initials one letter with small ink sketch of Deschamps another letter with a fore-edge a bit chipped; docketed by Deschamps and a few with his penciled notes on versos. Written from London Naples and Menton 1872-1888. With six related items: three letters to Alma-Tadema from others regarding his paintings; two letters 1883 & 1910 from his wife and daughter also painters to Deschamps; and a pictorial invitation to an Alma-Tadema exhibition. Alma-Tadema writes about: sales of his paintings with some prices – payments for paintings – paintings mentioned are "Sappho" "The Audition" "La Cleopatra" – arranging meetings – portraits – arranging for paintings to go to exhibitions at Knoedler Birmingham Grosvenor Gallery – mentions four paintings leaving for America and their prospective buyers – social news – travels one letter is from Naples two are from Menton. Sir George Clausen 1852-1944. 81 autograph letters signed 158 pages 8vo one letter with two small drawings in the text 18 of the letters with condition problems because of the ink and the inferior dark stationery used fading some margins chipped all perhaps a dozen words lost; nearly all docketed by Deschamps on versos. Written from Cookham Dene in Berks St. Albans and possibly Paris 1881-1887. With eight signed receipts from Deschamps for sales of pictures and one printed Deschamps announcement. Clausen writes about: pricing pictures – exhibitions – discusses individual pictures he is working on and selling detailed – much on the Grosvenor Gallery – Royal Academy exhibition getting "The Gleaners" and other paintings ready for – thinking of moving from St. Albans to Cookham Dene – what he finds wrong with one of his pictures – which pictures should be sent to the Grosvenor or to the Royal Academy – going to Paris to paint for the winter Glow international exhibition – also Liverpool and Manchester exhibitions – framing – which pictures they are sending to each other – mentions Alma-Tadema – mentions other art dealers. Edward John Gregory 1850-1909. 30 autograph letters signed 50 pages 12mo-8vo a few letters a bit stained. Virtually all written from Maida Vale one letter from Florence 1881-1888. With two signed receipts from Deschamps. Gregory writes about: financial matters – collectors – exhibitions – sales of his pictures – prices for pictures – pictures and watercolors he is working on a few detailed – framing – travels in Italy a six-page letter giving his opinion of Florence – mentions Caldecott. John William North 1842-1024. 25 autograph letters signed and one autograph postcard signed 46 pages 8vo including one letter to Mr. Williams of Christie's one of the letters browned. Written from London and Taunton 1881-1888. With six signed receipts from Deschamps for pictures sold and an autograph note signed from the dealer making an offer on a painting with a reply from North on it. North writes about: the Grosvenor Gallery and its exhibitions – going to the New Gallery – selling a Gainsborough which Deschamps had on consignment – sales of pictures and prices he wants – other dealers – making arrangements – Deschamps getting involved with the Grosvenor Gallery – mentions the writer Richard Jefferies. William Stott of Oldham 1857-1900. 14 autograph letters signed 31 pages 8vo; almost all docketed by Deschamps a few with penciled notes by him. Written from London Cumberland and Paris 1884-1887. With a receipt from Deschamps for payment for a painting. Stott writes about: prices he wants for paintings and business dealings over his pictures in detail – names paintings he is working on – arranges appointments – mentions a Whistler painting at a Paris salon. unknown
réf. 409515From the Bart Auerbach Collection. Consisting of 188 autograph letters signed and one autograph postcard signed 336 pages 12mo and 8vo plus 25 related items. As below:. Sir Lawrence Alma-Tadema 1836-1912. 38 autograph letters signed 52 pages nearly all 12mo about half in French most signed "L Alma-Tadema" a few signed just with initials one letter with small ink sketch of Deschamps another letter with a fore-edge a bit chipped; docketed by Deschamps and a few with his penciled notes on versos. Written from London Naples and Menton 1872-1888. With six related items: three letters to Alma-Tadema from others regarding his paintings; two letters 1883 & 1910 from his wife and daughter also painters to Deschamps; and a pictorial invitation to an Alma-Tadema exhibition. Alma-Tadema writes about: sales of his paintings with some prices – payments for paintings – paintings mentioned are "Sappho" "The Audition" "La Cleopatra" – arranging meetings – portraits – arranging for paintings to go to exhibitions at Knoedler Birmingham Grosvenor Gallery – mentions four paintings leaving for America and their prospective buyers – social news – travels one letter is from Naples two are from Menton. Sir George Clausen 1852-1944. 81 autograph letters signed 158 pages 8vo one letter with two small drawings in the text 18 of the letters with condition problems because of the ink and the inferior dark stationery used fading some margins chipped all perhaps a dozen words lost; nearly all docketed by Deschamps on versos. Written from Cookham Dene in Berks St. Albans and possibly Paris 1881-1887. With eight signed receipts from Deschamps for sales of pictures and one printed Deschamps announcement. Clausen writes about: pricing pictures – exhibitions – discusses individual pictures he is working on and selling detailed – much on the Grosvenor Gallery – Royal Academy exhibition getting "The Gleaners" and other paintings ready for – thinking of moving from St. Albans to Cookham Dene – what he finds wrong with one of his pictures – which pictures should be sent to the Grosvenor or to the Royal Academy – going to Paris to paint for the winter Glow international exhibition – also Liverpool and Manchester exhibitions – framing – which pictures they are sending to each other – mentions Alma-Tadema – mentions other art dealers. Edward John Gregory 1850-1909. 30 autograph letters signed 50 pages 12mo-8vo a few letters a bit stained. Virtually all written from Maida Vale one letter from Florence 1881-1888. With two signed receipts from Deschamps. Gregory writes about: financial matters – collectors – exhibitions – sales of his pictures – prices for pictures – pictures and watercolors he is working on a few detailed – framing – travels in Italy a six-page letter giving his opinion of Florence – mentions Caldecott. John William North 1842-1024. 25 autograph letters signed and one autograph postcard signed 46 pages 8vo including one letter to Mr. Williams of Christie's one of the letters browned. Written from London and Taunton 1881-1888. With six signed receipts from Deschamps for pictures sold and an autograph note signed from the dealer making an offer on a painting with a reply from North on it. North writes about: the Grosvenor Gallery and its exhibitions – going to the New Gallery – selling a Gainsborough which Deschamps had on consignment – sales of pictures and prices he wants – other dealers – making arrangements – Deschamps getting involved with the Grosvenor Gallery – mentions the writer Richard Jefferies. William Stott of Oldham 1857-1900. 14 autograph letters signed 31 pages 8vo; almost all docketed by Deschamps a few with penciled notes by him. Written from London Cumberland and Paris 1884-1887. With a receipt from Deschamps for payment for a painting. Stott writes about: prices he wants for paintings and business dealings over his pictures in detail – names paintings he is working on – arranges appointments – mentions a Whistler painting at a Paris salon. unknown books
1968réf. WWP2651968. Vintage silver prints 45. A large and dramatic group of photographs documenting tumultuous times of unrest in Paris in May of 1968 taken by a varied group of photojournalists. Included in the collection are works by the following photographers: Jean-Pierre Rey 3 photos Bryn Campbell 3 photos Claude Bourquelot 1 photo Russ Melcher 2 photos Leon Hersctritt 2 photos Goksin Sipahioglu 4 photos Bergon 1 photo O. Rolland 6 photos Bergon 1 photo and Pierre-Yves de Kercadio 2 photos. There are also twenty photographs credited to either the Pix Agency the Dalmas Agency or Paris Presse. Most approx. 8 x 12 inches a few smaller ; Each with an affixed caption and agency credit verso; many with photographer's credit verso as well. unknown
réf. 16-6511Antverpiae//Antwerpen/: Henricus Thieullier 1696. Folio. 26 x 41cm. Contemporary calf unrestored. 6pp; 117 plates some double page and some two to a page.OCLC Number / Unique Identifier:939440: . At least two different editions were published in 1696. One appears to be broadly a reissue of the plates of the first edition with new letterpress in Latin and Dutch and four different title-sources this edition is not described by Bibliotheca Belgica but is present at the British Library at 158.k.4. A Latin title page is more or less as described above while a Dutch title page reads De kastelen en borgten van de edelen van Brabant. The engraved title-plate reads 'Prospectus Castellorum Et Prætoriorum . ' as above and a small engraved half-title supplies the title Brabantia sacra et profana scenographice illustrata. The two letterpress titlepages have the Amsterdam imprint of Abraham van Someren and Arnold van Ravestein. The present edition is quite different and may perhaps be later. It has been reorganised into four books the first two of which consist of the matter extracted from Topographia historica Gallo-Brabantiae while the third is largely from the Notitia marchionatus sacri Romani Imperii. The title-plate and 'Schema metallorum . ' came originally from this last source along with all but plates 5 9 14 20 22b 23b 30 32 33b 34a 37b 38 45b 46a and 47-49 from part 3 listed above a total of 64 coppers. For the present work most of the earlier plates have been reworked to remove the original page numbers and in a few cases to revise captions signatures and add the coats-of-arms of dedicatees. The brief fourth part is entirely new to the present edition with plates which appear to have been freshly commissioned from Jacques van Croes see Plates above. The lack of a list of plates makes the content of an ideal copy extremely hard to determine although the accompanying text suggests at least which subjects should be depicted in the plates and it was probably Le Roy's intention that the letterpress printed at this period could be used to accompany a shifting body of illustrative views. .In 1696 the Antwerp publisher Hendrik Thieullier died and in 1697 Le Roy produced a new edition of the work with his own imprint Bibliotheca Belgica III pp. 851-852. Brunet II col. 1002 and the UCBA p.1174 record that the plates were also published with the title Brabantiaes scenographia in 1696 1697 and 1698 but while this is plausible no copies with this title have been traced. . Antverpiae//Antwerpen/: Henricus Thieullier, 1696 unknown
1914réf. 29430Album unique, composé de 42 lithographies originales Trévise, Longo Domenico, [1914-1915]. 1 vol. (490 x 340 mm) de 90 planches. Bradel demi-percaline violette à coins, dos lisse, pièce de titre (reliure de l'époque). Album unique, composé des lithographies originales de 42 dessins sur papier de chine collé, en double état, soit 84 compositions (42 en couleurs avec leur suite en noir). Chacune de ces lithographies, au format carte postale (140 x 90 mm), est montée dans un encadrement de filet noir, surmontée d'une couronne impériale sur une feuille de papier vélin pur chiffon filigranée «A. BINDA C. MILAN», avec la mention imprimée : «Tirage unique pour le Prince Laforge de Vitanval» ; chaque planche est signée à la plume par l'éditeur, Longo Domenico, et par l'artiste, Alberto Martini. On trouve en tête de chaque partie une notice commentée et descriptive, légendant et numérotant chaque carte, sur un feuillet interfolié avant chaque série. Une page de titre a été spécialement réalisé pour cet album.
réf. 980121 double-page one with a "trick" fold-out & four full-page color-printed woodblock illus. 17; 12; 15 folding leaves. Three vols. 8vo orig. semi-stiff wrappers rubbed orig. block-printed title labels on upper covers not present on the first vol. orig. stitching. Japan: Preface dated 1826. A remarkable and unusual shunga which depicts a hermaphrodite three scenes a ménage à trois scenes of voyeurism and masturbation a childbirth scene a deity with the face of a vagina and a nun having sex with a man two scenes. The color printing and embossing are exquisite throughout fresh and highly detailed. The third volume begins with two extremely rare images. The first depicts a husband praying for a baby girl while his wife prays for a male child. The following scene depicts a midwife assisting the wife who is bearing a hermaphroditic baby. There is much to be studied in this book; we have only suggested some of the complex subjects. There is some debate regarding the artists. WorldCat attributes the images to Utagawa Kuniyoshi and Utagawa Kunisada accession number 1020973371 but the NIJL erotica database Enpon Shiryo database and the Ritsumeikan University ARC database prefer Toyokuni and Kunitora. The author is EnkÅbÅ Tsukinari çŒ¿çŒ´åŠ æœˆæˆ. Kunitora act. 1819-40 a student of Toyokuni seems to have produced very few books including illustrated works of popular fiction as well as erotica. Fine set with minor thumbing. Minor worming in the first volume. unknown
réf. 980121 double-page one with a "trick" fold-out & four full-page color-printed woodblock illus. 17; 12; 15 folding leaves. Three vols. 8vo orig. semi-stiff wrappers rubbed orig. block-printed title labels on upper covers not present on the first vol. orig. stitching. Japan: Preface dated 1826. A remarkable and unusual shunga which depicts a hermaphrodite three scenes a ménage à trois scenes of voyeurism and masturbation a childbirth scene a deity with the face of a vagina and a nun having sex with a man two scenes. The color printing and embossing are exquisite throughout fresh and highly detailed. The third volume begins with two extremely rare images. The first depicts a husband praying for a baby girl while his wife prays for a male child. The following scene depicts a midwife assisting the wife who is bearing a hermaphroditic baby. There is much to be studied in this book; we have only suggested some of the complex subjects. There is some debate regarding the artists. WorldCat attributes the images to Utagawa Kuniyoshi and Utagawa Kunisada accession number 1020973371 but the NIJL erotica database Enpon Shiryo database and the Ritsumeikan University ARC database prefer Toyokuni and Kunitora. The author is EnkÅbÅ Tsukinari çŒ¿çŒ´åŠ æœˆæˆ. Kunitora act. 1819-40 a student of Toyokuni seems to have produced very few books including illustrated works of popular fiction as well as erotica. Fine set with minor thumbing. Minor worming in the first volume. unknown books
réf. 63846Eight large aquatint etchings each approx. 14" x 18" on ca. 17" x 24" sheets; titled as follows: "Pirouette;" "Ballotade;" "Piaffe;" "Spanish Walk;" "Levade;" "Capriole;" "Pasade;" and "Croupade;" each signed in pencil lower right; edition of 50. In the original hinged gallery mats; small areas of discoloration to margins from mounting tape well away from printed area; one mat lacking a portion of border; still close to Fine. Together with an additional 47 related original artworks signed and unsigned including 29 etchings being proofs and preliminary states of the finished prints 15 sheets of pen-and-ink studies and three watercolors. Also present are several offprints of Helen Hill Miller's article "Ballet of the White Stallions: The Lipizzaners of Vienna's Spanish Riding School" published in the December 1960 issue of Esquire for which these prints were originally commissioned; two copies of the printed poster advertising Groth's 1960 exhibition at the Janet Nessler Gallery titled "The Horse in Sport;" the entirety housed in a hand-made art-paper portfolio boldly brush-signed and with a mounted signed ink sketch above the signature. A significant archive demonstrating the legendary illustrator's technique from preliminary sketch to finished etching. Many of the sketches and proofs are heavily marked-up in the artist's hand; others are signed and clearly intended to be finished works. The finished etchings printed in deep maroon ink on a white ground are stunning and apparently rare with no examples having been recorded in the secondary market since their original appearance at the Nessler Gallery in 1960 where they sold for $50 apiece - a princely sum at the time reflecting Groth's lingering fame as a battlefield illustrator during the Second World War; but also indicative of the great refinement of these works which while retaining a good deal of Groth's famously gestural style apparent in his studies and sketches for these works are exquisitely composed balancing the athleticism and the classical elegance of their subjects. Miller's article was one of the first to introduce the Lipizzaner Stallions to a popular American audience. Not until 1970 would the Spanish Riding School perform its first world tour introducing classical dressage in its highest form to a broad and appreciative public. PROVENANCE: from the archive of the artist acquired by us in 2015. unknown
réf. 63846Eight large aquatint etchings each approx. 14" x 18" on ca. 17" x 24" sheets; titled as follows: "Pirouette;" "Ballotade;" "Piaffe;" "Spanish Walk;" "Levade;" "Capriole;" "Pasade;" and "Croupade;" each signed in pencil lower right; edition of 50. In the original hinged gallery mats; small areas of discoloration to margins from mounting tape well away from printed area; one mat lacking a portion of border; still close to Fine. Together with an additional 47 related original artworks signed and unsigned including 29 etchings being proofs and preliminary states of the finished prints 15 sheets of pen-and-ink studies and three watercolors. Also present are several offprints of Helen Hill Miller's article "Ballet of the White Stallions: The Lipizzaners of Vienna's Spanish Riding School" published in the December 1960 issue of Esquire for which these prints were originally commissioned; two copies of the printed poster advertising Groth's 1960 exhibition at the Janet Nessler Gallery titled "The Horse in Sport;" the entirety housed in a hand-made art-paper portfolio boldly brush-signed and with a mounted signed ink sketch above the signature. A significant archive demonstrating the legendary illustrator's technique from preliminary sketch to finished etching. Many of the sketches and proofs are heavily marked-up in the artist's hand; others are signed and clearly intended to be finished works. The finished etchings printed in deep maroon ink on a white ground are stunning and apparently rare with no examples having been recorded in the secondary market since their original appearance at the Nessler Gallery in 1960 where they sold for $50 apiece - a princely sum at the time reflecting Groth's lingering fame as a battlefield illustrator during the Second World War; but also indicative of the great refinement of these works which while retaining a good deal of Groth's famously gestural style apparent in his studies and sketches for these works are exquisitely composed balancing the athleticism and the classical elegance of their subjects. Miller's article was one of the first to introduce the Lipizzaner Stallions to a popular American audience. Not until 1970 would the Spanish Riding School perform its first world tour introducing classical dressage in its highest form to a broad and appreciative public. PROVENANCE: from the archive of the artist acquired by us in 2015. unknown books
1921réf. 29047Premier livre illustré par Juan Gris Paris, Editions Galerie Simon, 1921. 1 vol. (235 x 325 mm). Broché. Édition originale. Illustré de quatre lithographies hors-texte par Juan Gris. Un des 90 exemplaires sur hollande signé au colophon par l'auteur et l'artiste. Premier livre illustré de gravures originales par Juan Gris, et première apparition de la couleur dans la production éditoriale de Kahnweiler : le bleu, le vert, le bistre et l’ocre sont utilisés. C'est également la première fois que les illustrations portent clairement un titre ou une légende.
