ROUAULT, GeorgesLivre Rare Book
5 563 résultats
1948réf. 1780Paris, Éditions de l’étoile filante, 1948, in-plano, sous emboitage titré avec attache métallique dorée (de l'éditeur). - LA SUITE COMPLÈTE DES 58 GRAVURES DU MISERERE, L'œuvre gravée capitale de Georges Rouault. - 4 planches supplémentaires en "hélios primitives", rayées, figurent dans cet exemplaire. Elles sont titrées et monogrammées à la plume par l'artiste, et certaines sont totalement inédites. Les 58 planches en aquatinte et héliogravure de cet suite monumentale ont été gravées par Georges Rouault de 1922 à 1927 et tirées à l'époque à l’initiative d’Ambroise Vollard et conservées par lui jusqu’à sa mort. Tirage : 450 exemplaires numérotés sur vélin filigrané "Ambroise Vollard". Exemplaire de Roger Passeron dont le tirage de chaque épreuve est parfait et celles-ci conservées à l'état de neuf. Provenance d'une collection exceptionnelle. Photographies sur demande personnalisée. ——— THE COMPLETE SUITE OF THE 58 ENGRAVINGS OF MISERERE, Georges Rouault's capital engraved work. - with 4 additional plates in "primitive helios", scratched, appear in this copy. They are titled and monogrammed in pen by the artist, and some are completely unpublished. The 58 aquatint and heliogravure plates of this monumental suite were engraved by Georges Rouault from 1922 to 1927 and printed at the time on the initiative of Ambroise Vollard and kept by him until his death. Edition: 450 numbered copies on "Ambroise Vollard" watermarked vellum. Copy of Roger Passeron whose printing of each proof is perfect and these preserved in new condition. From an exceptional collection. Photographs on personalized request. The artist's engraved masterpiece. Rouault engraves as he paints, with his soul, his faith, without hindsight. The copy, from a great provenance, is in perfect condition and enriched with 4 hand-signed plates, some unique, each signed in ink by the artist.
1940réf. 48600Paris.: Le Degré Quarante et Un. 1940. Loose as issued in original publisher's printed parchment wrappers over card boards with title in black to upper cover original tan patterned paper board chemise and matching slipcase with label with 'ILIAZD / PICASSO' in blue ink to edge. Oblong 4to. 215 x 320 mm. Half-title original aquatint with 'arabesque' title leaf with justification in Russian verso leaf with justification in French leaf with title in French verso leaf with title in Russian leaf with original aquatint with second 'arabesque' and Iliazd's verse in Russian in double columns illustrated with 4 engravings with burin by Picasso final leaf with achevé d'imprimer in Russian. The first of Iliazd's beautiful and typographically inventive illustrated books and the first he produced with Picasso.From the edition limited to 64 copies on 'Montval à la cuve' signed by Picasso and Iliazd in pencil. 'Afat was the first of nine books Iliazd and Picasso collaborated on. All of them were published under the imprint of 'Degré Quarante et Un' a name Iliazd chose in memory of a school of futurist poetry called the 'University of the 41º' which he had founded in Tiflis in 1917 . Afat is a collection of 76 sonnets in Russian by Iliazd the majority of which were written between January and June 1938. In his poems Iliazd writes of love of feminine beauty of the poet's difficult métier and the hidden meaning of words. Three sonnets are about the poet's relationship to 'Pablo' Picasso.' Patrick Cramer.'Afat . contained features that would become signature elements of his work. The book was structured as a whole . The sequencing and number of pages were ordered by a mathematical scheme. The image was not linked to directly to the text thematically or physically and the interaction produced a dialogue rather than subordinating one to the other as illustration and / or caption. The sequence of blank sheets title half title and justification of the edition were laid out symmetrically so that the closing of the book echoed the opening . The typographic style was restrained and the pages produce subtle equilibrium instead of dynamic activity - no confusion no clamor no crowding no elaborate display faces. The sole decoration on the cover was the stamped title Afat a term that invokes unhappiness / and / or beauty that causes it rendered in kufic . With this work Iliazd's architectural approach to book structure with strong emphasis on symmetry and balance made its appearance.' Johanna Drucker.Cramer 33; see Johanna Drucker's 'Iliazd - A Meta-Biography of a Modernist' 2020 pp. 146 - 147. Le Degré Quarante et Un. hardcover
1960réf. 180667Paris: Atelier Crommelynck 1960. Printed and published by Atelier Crommelynck with their blind stamp lower right. Edition of 300. Signed in pencil lower right by Picasso. Etching and aquatint printed in colours on Arches wove paper all edges deckled. Plate size 32.5 x 43.7 cm. Sheet size: 50 x 66 cm. Framed size: 698 x 792 mm. Presented in a handmade black gesso and white gold frame with conservation acrylic glazing. Excellent condition. unknown
1931in-4 (325x250 mm), pp. XIV, con 67 composizioni figurative astratte di Picasso incise in legno da Aubert , pp. 92 di testo, (8), 13 acquaforti originali di Picasso f.t. Artistica legatura d'amatore, firmata da René Kieffer in pieno marocchino marrone interamente decorata con giochi di filetti a secco, punteggiata in oro, bordura in marocchino grigio, titolo in oro al dorso, taglio sup. dorato., sguardie in seta grigia, in elegante astuccio. Copertina originale conservata. Precede una prefazione del pittore Albert Besnard. Tiratura a 340 esemplari complessivi: il presente è il n. 230 dei 240 sur "papier de Rives". è illustrata da 67 disegni di Picasso, xilografati da George Aubert e da 13 acquaforti originali di Picasso a piena pagina fuori testo, stupende, nelle quali Picasso sviluppa uno dei suoi temi favoriti, quello del pittore e della modella. Uno dei più significativi e riusciti livres d'artiste del Novecento, nel quale Picasso cominciò ad utilizzare il tratteggio donando forza all'orizzonte prospettico della scena grazie al chiaroscuro. "En 1927 Vollard, à chargé l'artiste d'illustrer une réédition spéciale d'une nouvelle de Balzac datant de 1837. L'histoire de Balzac se situe au 17e siècle dans un studio de la rue des Grands Augustins à Paris ... Dans les années ‘30, par un étrange coup du destin, il loua le numéro 7, rue des Grands Augustins que lui et d'autres croyaient être la maison dans laquelle l'histoire commence. C'est à cette adresse en 1937, exactement cent ans après la dernière version de Balzac, que Picasso a peint son célèbre chef-d'oeuvre, Guernica". Esemplare magnifico, a pieni margini.. Chapon, Le peintre et le livre, p.281: Le peintre et le livre, p.281: ''Picasso a multipié les manières de créer..il execute une série de variations constituées de droites, de courbes, de figures géometriques. Aux extrémités des points...''. Cramer n.20. Rauch n.53..
1950réf. 154025Paris & New York: L'Image Littéraire & R. Finelli-Feugère 1950. With an additional suite of Braque colour separations First edition first printing number 29 of 150 copies signed by all the artists and authors with each print numbered and signed by the respective artist and Robert Rey. This copy with an additional suite of 46 sheets with colour separations of Braque's print housed in separate wrappers lettered in black. The print titles included are: Braque "Nature morte au huitres"; Brianchon La neige a auteuil; Chagall La sirène; Desnoyer Liseuses au bord de mer; Dufy Le casino de la jetée a Nice; Laurencin Portrait de femme en rouge; Matisse Nature morte au magnolia; Picasso La cassarole Émaillée; Utrillo Le jardin de Montmagny; Van Dongen Tête de femme; Vlaminck Les blés dans la perche; and Waroquier Dolori sacrum. Folio. 12 colour woodcuts after each of the artists printed on Van Gelder Zonen wove paper with one edge untrimmed. Sheet sizes: 46.5 x 36 cm. Unbound sheets printed on Van Gelder Zonen wove paper in white wrappers titles to front cover in red. With glassine dust jacket. Housed in the publisher's blue morocco clamshell box titles to front cover and spine gilt. All contained in the original card packing box. Closed tear to front wrapper and glassine hinge of clamshell box split minor foxing in places otherwise a bright unfaded set. unknown
1962réf. 193616Teufen: Verlag Arthur Niggli 1962. Signed with two original crayon drawings by Picasso First German edition enhanced with two original drawings by Picasso to the front cover and title page. The copy is inscribed "pour Anne Lise" and signed and dated "15.10.63". Annelise Dierdorf was an art collector and patron along with her husband Gottfried. Their collection included original paintings prints and rare books many dedicated to the couple by their creators. Already a leading proponent of printmaking under the guidance of printer Hildalgo Arnéra in Vallauris Picasso mastered linocutting in the late 1950s and early 1960s elevating a technique formerly associated with commercial printing and advertising to a sophisticated and collectable artform. He is often credited with pioneering the reductive one-block printing process printing and recutting a single block to produce complex images rather than using separate blocks. Most of these early linocuts were printed exclusively for Gallerie Louise Leiris in editions of 50. Reductive linocuts have a finite edition determined by the print run from the initial state of the block as each state is destroyed by the next. The linocuts reproduced in this book could not therefore be printed from the original blocks however have been reproduced with a printing process that closely mimics the originals with thick distinct layers of paint. Quarto. 45 full-page facsimile linocuts. Text in German. Original beige cloth debossed illustration in black to front cover hand-coloured and enhanced by Picasso spine lettered in black. Cloth slipcase with illustrated paper labels. Some toning to slipcase labels; a fine copy in near-fine slipcase. hardcover
1964réf. 181688Paris: Galerie Louise Leiris 1964. Printed by Pennequin for Atelier Crommelynck. Edition of 50. Soft ground etching and aquatint in colours on Auverne Richard de Bas watermarked wove paper all edges untrimmed. Signed in pencil lower right by Picasso numbered lower left. Plate size 59.7 x 42.6 cm. Sheet size: 57.6 x 78.6 cm. Framed size: 98 x 78.5 cm. Presented in a black gesso and white gold frame with conservation acrylic glazing. Very minor spotting to margins otherwise a bright clean image. Baer 1168. Bloch 1168B. unknown
1971réf. 166837Paris: Éditions de l'Atelier Crommelynck 1971. 66 original Picasso etchings First edition first printing number 36 of 350 copies signed by the artist. La Celestina a major work of Spanish literature first printed in 1499 here translated by Pierre Heugas was illustrated by Picasso as part of the famous 347 series for which Picasso etched 347 plates between March to October 1968 all printed by the Crommelynck brothers. Octavo. With 66 full page original etchings and aquatints of varying sizes dated between 11 April and 18 August 1968 printed on Richard-de-Bas laid paper with La Célestine watermark. Original full parchment boards lettering to front cover in black. Parchment and paper dust jacket lettering to spine in black. Housed in a parchment covered slipcase. Housed in a black cloth flat-back box by the Chelsea Bindery. A fine copy in a fine slipcase. Cramer Illustrated Books No. 140; Bloch 1602. hardcover
1931réf. 3114Paris, Ambroise Vollard Éditeur, 1931. Un volume in-4 (32 x 24 cm). Remarquable reliure "sculptéee de Paul Bonet en plein box bleu nuit et décor polychome en relief, chemise et étui (signée et datée de 1944). - 12 EAUX-FORTES ORIGINALES EN HORS-TEXTE et 1 EAU-FORTE pour la "table des eaux-fortes" GRAVÉES PAR PABLO PICASSO. - UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dessins de l'artiste gravés sur bois par Georges Aubert et tirés en in-texte. Une "préface" de 16 pages de dessins composés de points et de traits dessinés par Picasso en 1924 également gravés sur bois par Aubert. Tirage : 340 exemplaires (65 Japon + 240 vélin de Rives + 35 H.C.). Celui-ci 1 DES 65 EXEMPLAIRES SUR JAPON IMPÉRIAL, LES SEULS SIGNÉS AU PINCEAU PAR PICASSO et monogramés à la plume par Vollard, avec UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dans une extraordinaire reliure "sculptée" de Paul Bonet, datée 1944 : "box bleu corbeau, un grand caisson ovale occupe presque chaque plat, encadrant un grand motif abstrait sculpté et couvert de veau de différentes couleurs vives" (Carnets, n°692), couverture conservée, chemise, étui. Bonet n'a réalisé qu'une poignée de ces fameuses reliures sculptées qui sont très recherchées. Celle-ci étant l'une des plus réussies et des plus élégantes. —— ENGLISH DESCRIPTION: Paris, Ambroise Vollard Éditeur, 1931. Illustrated with 12 original etchings by Pablo Picasso (and 1 for the plate "Table des eaux-fortes") and numerous woodcuts by G. Aubert after the drawings by Picasso. One of 65 NUMBERED ON JAPAN PAPER SIGNED BY PICASSO AND VOLLARD with an EXTRA SUITE of the 12 original etchings on Rives paper. Only the 65 numbered on japan paper are signed by Picasso and Vollard. Mint condition. Outstanding "sculptural" binding by Paul Bonet, dated 1944: "raven blue box, a large oval box occupies almost each cover, framing a large abstract motif carved and covered with calfskin in different bright colors" (Carnets, n°692), cover preserved, folder, case.
1955réf. 147884Paris: Galerie Louise Leires 1955. Signed by Picasso Edition of 50. Signed in pencil lower right by Picasso numbered lower left. Aquatint and drypoint on vélin d'Arches watermarked wove paper all edges untrimmed. Plate size: 64.6 x 49.7 cm. Sheet size: 76.5 x 57 cm. Framed size: 105 x 88 cm. Paper toned hinging tape to upper edge and corners of verso otherwise bright. Presented in a white gold frame with conservation acrylic glazing. Bloch 771; Baer 927. unknown
1978réf. 167436Paris: Cahiers d'Art 1978. First Edition. First Edition in 34 volumes. Text in French. The definitive catalogue raisonné of the work of the 20th century's most renowned artist published individually over four decades by "Cahiers d'Art" founder Christian Zervos in partnership with Picasso himself. Volume I of "Zervos" as it is commonly known was first published by Cahiers in 1932 and the last volume was printed in 1978 following the deaths of both its author and its subject. With over 16000 reproductions in black-and-white in accordance with the artist's wishes. Picasso felt that black-and-white plates were more faithful to his work than an inaccurate color photograph. Near Fine to Fine each volume bound in custom red quarter leather with raised bands gilt titles and rule. Original wrappers for each volume included separately. Oversize set shipping billed at cost. Cahiers d'Art unknown
1978réf. 167436Paris: Cahiers d'Art 1978. First Edition. First Edition in 34 volumes. Text in French. The definitive catalogue raisonné of the work of the 20th century's most renowned artist published individually over four decades by "Cahiers d'Art" founder Christian Zervos in partnership with Picasso himself. Volume I of "Zervos" as it is commonly known was first published by Cahiers in 1932 and the last volume was printed in 1978 following the deaths of both its author and its subject. With over 16000 reproductions in black-and-white in accordance with the artist's wishes. Picasso felt that black-and-white plates were more faithful to his work than an inaccurate color photograph. Near Fine to Fine each volume bound in custom red quarter leather with raised bands gilt titles and rule. Original wrappers for each volume included separately. Oversize set shipping billed at cost. Cahiers d'Art unknown books
1967réf. 3152Paris, Tériade Éditeur, 1967. Un volume in-folio (450 x 345 mm) en feuilles sous couverture imprimée rempliée, chemise titrée or et étui de l'éditeur recouverts de toile écrue. - 38 LITHOGRAPHIES ORIGINALES DE MARC CHAGALL : 15 EN COULEURS DONT 3 À DOUBLE PAGE (450 x 687 mm) ET 18 EN NOIR. Toutes les lithographies sont en hors-texte et ont été tirées sur les presses de Fernand Mourlot. Tirage : 250 exemplaires + 20 exemplaires HC. Celui-ci est un exemplaire de collaborateur, il n'est donc ni numéroté ni signé. - Note historique et bibliophilique : Le sujet du cirque est l’un des thèmes les plus importants dans l’œuvre de Marc Chagall. Cette fascination remonte à l'enfance, quand il vit à Vitebsk une petite troupe itinérante exécuter quelques acrobaties maladroites devant un public indifférent : cette triste performance était-elle le destin de toute vie d’artiste ? C’est Ambroise Vollard, lui-même très amateur de cirque, qui incita Chagall à développer ce thème, mais c’est Tériade, qui après la mort de Vollard, le convainquit de travailler à un livre illustré de lithographies. Accompagné de textes de l’artiste, CIRQUE est certainement la meilleure réalisation lithographique de Chagall avec Daphnis & Chloé paru en 1961 chez le même éditeur, "sans aucun doute le plus personnel de tous ses livres, le plus exceptionnel aussi par l'intensité du trait et des couleurs, mais aussi par l'harmonie qu'il crée entre texte et peinture, enfin par le caractère même et la qualité de l'écriture" (Hommage à Tériade, Grand Palais, 1973). - ENGLISH DESCRIPTION: MARC CHAGALL (1887-1985) : CIRQUE, Tériade Editeur, Paris, 1967 (book/ portfolio). The complete set of 38 lithographs (23 lithographs in colors and 15 lithographs in black), on Arches paper, all hors-texte, title page, text in French and justification. This copy on Arches paper, from a collaborateur, it is not numbered and not signed, of the 270. The colors fresh, the full sheets, loose (as issued), in mint condition, within original paper wrapper, beige cloth-covered boards with title stamped in gilt on spine and matching slipcase 17 3/4 x 13 1/2 in. (450 x 345 mm.) References: Mourlot 490-527; Cramer books 68.
