1 913 résultats
réf. 381L'artiste (revue) Petit in folio demi-chagrin vert à grain long,titre,fers,filets,roulettes,palmettes dorés,reliure signée en pied de BOUTIGNY. Année 1832:tome 3,beau frontispice par Charavard,livraisons 1 à 26.Pages 1 à 316.texte sur deux colonnes.non rogné,44 lithographies sous serpentes par les meilleurs artistes de l'époque,CHARLET,GAVARNI,BICHEBOIS,etc..
réf. 2089630Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1835. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2091153Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2091154Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2091152Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2091155Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 51-4180Paris: L'Artiste 1834. 4to. 27 x 20.5 cm. 2 vols. Elaborate contemporary Romantic binding with gilt and blind stamping. 308 308 pp. about 108 of 110 original graphic works. Missing appear to be 1834-1 Clerget and 1834-68 Alophe. Among the other works is the original lithograph by Delacroix: Le jeune Clifford trouvant le corps de son père 1834-104; Delteil no. 99 first state of 3; Young Clifford Finding the Body of his Father image of Shakespeare King Henry VI Part IICatalogued in "Les Estampes de L'Artiste 1831-1904" by Pierre Sanchez and Xavier Seydoux nos. 1834- 2 to 1834-110. Textes des grands écrivains romantique tel que Gérard de Nerval Théophile Gautier qui est rédacteur en chef de 1856 à 1859 Jules Janin Étienne Eggis Théodore de Banville Henri Murger Charles Monselet Champfleury Charles Baudelaire Joseph Méry Eugène Sue Alphonse Esquiros Hector de Callias entre autres.Illustrés de lithographies et de gravures sur bois des plus grands artistes de l'époque puisque le fondateur Hector Brame fut l'associé de Durand-Ruel et que le repreneur de la revue n'est autre qu'Armand Houssaye qui a voulu faire de cette revue un véritable musée de la gravure. Nos volumes comptent des gravures de :Thomas Gavarni Prout Deveria Alophe Préault Dessain Deroy Beaume Noël Johannot Debacq Roqueplan Gsell Livet Champin Perrières Perlet Champmartin Bellange Dreux Charlot Boulanger Guët Delaroche Raffet Brume Scheffer Carrier Newton Peroy Vernet Decamps Leroy Grenier pour le premier volume et Giraud Alophe Noël Roqueplan Debacq Lerac Grenier Decamps Lebreton Pingret Leroy Francis Dauzat Cattemole Gavarni Provost Jaime Frey Gigoux Gintrac Delacroix Leclerc Boulanger Bourge Charlier Wilkie. Le second volume est incomplet d'une gravure page 48. Par contre il contient deux gravures d'Eugène Delacroix. .Fondée en 1831 aux plus beaux jours de la révolution romantique la revueL'Artiste connut une longue vie se transformant et se renouvelant plusieurs fois au cours du XIXe siècle pour ne s'éteindre définitivement que dans les toutes premièresannées du XXe siècle. C'est dire que durant ses soixante-quatorze ans d'existence cetterevue porte un témoignage direct sur l'évolution des mouvements artistiques etlittéraires ayant joué souvent un rôle actif soit dans la légitimation de la modernité et de l'innovation soit au contraire dans la défense des principes proclamés et propagés par les organes officiels de l'Institut et du gouvernement. Paris: L'Artiste, 1834. unknown
réf. 9270Grenoble, Roissard, 1966, 1 plein maroquin avec retours et charnières du même maroquin, dos à nerfs, orné, tranchefiles en soie, tête dorée, témoins conservés, contreplats doublés de papier marbré irisé de poudre d'or dans un encadrement de maroquin vert, gardes doublées du même papier marbré, couverture conservée, étui bordé de maroquin, recouvert de papier marbré et doublé de feutrine verte. Belle reliure de Crespo de Cunsel. in-4 de 264-(3) pp., planches de Traviès, Daumier et Gavarni, tiré à 1000 exemplaires, un des 974 sur pur chiffon Lafuma des papeteries Navarre ;
réf. 55-0013Paris: Le Charivari 1843. Lithograph. Image: 19.5 x 15 cm. Sheet: 36.5 x 25 cm. Armelhault & Bocher no. 559. Published in Le Charivari text verso. Water stain visible across hleft corner. Paris: Le Charivari, 1843. unknown
réf. 55-0011Paris: Le Charivari 1843. Lithograph. Image: 19.5 x 15 cm. Sheet: 36.5 x 25 cm. Armelhault & Bocher no. 552. Published in Le Charivari text verso. Paris: Le Charivari, 1843. unknown
réf. 55-0012Paris: Le Charivari 1843. Lithograph. Image: 19.5 x 15 cm. Sheet: 36.5 x 25 cm. Armelhault & Bocher no. 544. Published in Le Charivari text verso. Foxing. Paris: Le Charivari, 1843. unknown
1860réf. 173231860 Paris, H. Hetzel et Cie, éditeurs, sans date (ca 1860). Comprenant 479 dessins avec leur légende, consacrés aux gens de Paris, déjà publiés pour la plupart dans "Le Diable à Paris". Grand in-8, 20 x 28 cm., 483 pp. non numérotées. Reliure de l'éditeur signée A.L. & Cie [Lenègre]. Pleine percaline rouge très ornementée en noir et doré sur les deux plats et au dos. Toutes tranches dorées. Dos un peu terni, des rousseurs affectant une trentaine de feuillets. Bon état malgré les défauts signalés, reliure solide et intérieur majoritairement très frais.
1912réf. 27631912 1912 H. Floury, Paris, 1912. 1 volume in-4 pleine basane fauve, dos lisse, tête dorée, 120 illustrations montées sur onglets sous serpentes légendées. 50 exemplaires de luxe sur Japon, celui-ci le n°XLVII. Planches rares et lithographies posthumes. Mors faibles.
réf. 97573Paris, H. Floury, Editeur, 1912, 1 volume in-folio de 330x220 mm environ, 244 pages, cartonnage postérieure, avec couvertures et dos conservés (couverture ornée d' une reproduction contrecollée), avec un ex-libris sur le premier contreplat. Exemplaire N° VI, un des 50 exemplaires de luxe sur Japon numérotés en chiffres romains de I à L,complet des 120 planches en héliotypie par Léon Marotte. Deux coins émoussés, dos insolé avec coiffes et mors frottés, sinon bon état.
2002réf. 15251Catalogue raisonné des estampes Broché sous couverture illustrée Très bon Dijon L'Échelle de Jacob 2002 1 fort volume in-8°
réf. 491QUApréface de Jules Janin . 1 ère Edition illustrée par Gavarni . Paris . Librairie moderne . G. Havard . 1858 . 1 Volume petit in 4 . 1/2 veau bleu époque . dos à nerfs orné de filets et fleurons dorés ; dos passé ( vert ) ; gardes refaites anciennement ; 396 pp et 20 gravures de Gavarni . 1 er tirage des illustrations ; complet . Des rousseurs plus prononcées sur page de titre. Mais néanmoins exemplaire agréable.
réf. 76-1894Paris: Le Charivari 1838-1839. Lithographs. 28.5 x 20 cm sheet. Text in French on verso. Very Good light foxing on some sheets.Literature: Armelhault & Bocher 362; 363; 368. Paris: Le Charivari, 1838-1839. unknown
réf. 06347Paris: Caboche Grégoire 1837. One of Paul Gavarni's Rarest and Most Famous Series Thirty-Four Superb Lithographs. GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. La Boite aux Lettres. Paris: Caboche Grégoire et Cie Chez Arnauld de Vresse libraire éditeur 1837-1839. Folio 13 1/2 x 10 1/2 inches; 343 x 267 mm. Thirty-four superb lithograph plates with captions of the 'letters' printed below. Bound without the lithograph title-page. Bound by Pagnant ca. 1920 in quarter tan morocco over red patterned boards spine with five raised bands lettered in gilt in compartments cockerel endpapers. Joints expertly repaired some light to moderate foxing to several of the plates. Still an excellent example of this rare suite of lithographs. The first twelve lithographs were published by Caboche Grégoire et Cie. The following twenty-two lithographs were published by Aubert & Cie. and appeared in the journal Le Charivari between 7 November 1837 and 6 February 1839. According to OCLC there is just one copy with all thirty-four plates in libraries and institutions worldwide: The Clark Art Institute MA USA with all thirty-four plates- but lacking the lithographed title-page. Other than that example there are only three individual lithographs at The Getty CA USA numbers 4 8 & 14. The Getty also have a plain example of number 10. Paul Gavarni 1804-1866. "A French artist best known for his lithographs Paul Gavarni née Chevalier Suplice Guillaume was born in Paris on January 13 1804. Throughout his lifetime Gavarni produced over 4000 satirical prints for journals and fashion magazines. Both delicately witty and elegantly revealing of human behavior and character Gavarni's genre scenes made him one of the most important and popular nineteenth-century artists. He is often critically paired with Honoré Daumier with whom he and other young printmakers like Jean-Jacques Grandville and Joseph Traviés raised the status and importance of social lithography and printmaking as an art form. In the 1830s he began to work for L'Artiste La Caricature and most importantly Le Charivari. The latter was owned by Charles Philipon and became Gavarni's longest running contract and most important place of publication. Here Gavarni published some of his most famous series including Les Artistes La Boite aux Lettres Clichy inspired by his month-long stay in debtor's prison Les Coulisses Les Enfants Terribles Impressions de Ménage etc. etc." childsgallery.com "Gavarni as Sainte-Beuve puts it set to depicting and silhouetting society in all directions and from top to bottom: the high society the not so high society-all sorts of societies capturing the life of his time. He grabbed modern life by every available handhold imitating no one looking for nothing else swimming in open water and taking us in his wake amidst the stream of the manners of the time. He was Gavarni with an inexhaustible wit who at the bottom of a graceful drawing always interesting thanks to rational observation would write a caption full of subtle humor. It would sometimes unfold like a short comedy or be condensed like a geometrical axiom. Amusing and light-hearted when taken separately Gavarni's captions showed their true color of skeptical melancholy and of deep and powerful meaning when considered as a whole. He could through the accuracy of faces careful rendering of clothes and the precision of poses and bearing unmistakably express the age quality occupation habits manners and ridiculous ways of the characters he depicted. He made them speak a language that was stunning with original exactness feeling and novelty. Gavarni-and that's why he is great-created two genres at once: the pencil-drawn comedy of manners and the caption. His reputation became huge. True enough much of his audience only saw the funny aspect of the genre and called his drawings "caricatures" without noticing any difference with those of Daumier. But all sensitive souls were seduced by their elegance and subtlety and easily perceived their uniqueness." oldbookillustrations.com. Armelhault & Bocher pp. 88-95 11 unnumbered 348-368. Not mentioned in Ray. Paris: Caboche, Grégoire , 1837 unknown
1857réf. 24513Paris: Caboche Gregoire 1857. Very good condition. Caricature by Paul Gavarni 1804 - 1866 French satirical artist noted for his clever observations of contemporary life and elegant genre scenes and imitated by artists such as James McNeill Whistler. The image depicts an elegant young Parisian woman burning love letters quill pen in her mouth as she prepares to write a response. Magnificent hand colored lithograph highlighted with gum arabic dated in the print at the lower left. Image 7 1/2" x 11 1/4". Paper size approximately 9 1/2 x 12 1/2". Light damp stain in margin top right corner. Caboche, Gregoire unknown
réf. 06347Paris: Caboche Grégoire 1837. One of Paul Gavarni's Rarest and Most Famous Series Thirty-Four Superb Lithographs. GAVARNI Paul pseudonym of Guillaume Sulpice Chevallier. La Boite aux Lettres. Paris: Caboche Grégoire et Cie Chez Arnauld de Vresse libraire éditeur 1837-1839. Folio 13 1/2 x 10 1/2 inches; 343 x 267 mm. Thirty-four superb lithograph plates with captions of the 'letters' printed below. Bound without the lithograph title-page. Bound by Pagnant ca. 1920 in quarter tan morocco over red patterned boards spine with five raised bands lettered in gilt in compartments cockerel endpapers. Joints expertly repaired some light to moderate foxing to several of the plates. Still an excellent example of this rare suite of lithographs. The first twelve lithographs were published by Caboche Grégoire et Cie. The following twenty-two lithographs were published by Aubert & Cie. and appeared in the journal Le Charivari between 7 November 1837 and 6 February 1839. According to OCLC there is just one copy with all thirty-four plates in libraries and institutions worldwide: The Clark Art Institute MA USA with all thirty-four plates- but lacking the lithographed title-page. Other than that example there are only three individual lithographs at The Getty CA USA numbers 4 8 & 14. The Getty also have a plain example of number 10. Paul Gavarni 1804-1866. "A French artist best known for his lithographs Paul Gavarni née Chevalier Suplice Guillaume was born in Paris on January 13 1804. Throughout his lifetime Gavarni produced over 4000 satirical prints for journals and fashion magazines. Both delicately witty and elegantly revealing of human behavior and character Gavarni's genre scenes made him one of the most important and popular nineteenth-century artists. He is often critically paired with Honoré Daumier with whom he and other young printmakers like Jean-Jacques Grandville and Joseph Traviés raised the status and importance of social lithography and printmaking as an art form. In the 1830s he began to work for L'Artiste La Caricature and most importantly Le Charivari. The latter was owned by Charles Philipon and became Gavarni's longest running contract and most important place of publication. Here Gavarni published some of his most famous series including Les Artistes La Boite aux Lettres Clichy inspired by his month-long stay in debtor's prison Les Coulisses Les Enfants Terribles Impressions de Ménage etc. etc." childsgallery.com "Gavarni as Sainte-Beuve puts it set to depicting and silhouetting society in all directions and from top to bottom: the high society the not so high society-all sorts of societies capturing the life of his time. He grabbed modern life by every available handhold imitating no one looking for nothing else swimming in open water and taking us in his wake amidst the stream of the manners of the time. He was Gavarni with an inexhaustible wit who at the bottom of a graceful drawing always interesting thanks to rational observation would write a caption full of subtle humor. It would sometimes unfold like a short comedy or be condensed like a geometrical axiom. Amusing and light-hearted when taken separately Gavarni's captions showed their true color of skeptical melancholy and of deep and powerful meaning when considered as a whole. He could through the accuracy of faces careful rendering of clothes and the precision of poses and bearing unmistakably express the age quality occupation habits manners and ridiculous ways of the characters he depicted. He made them speak a language that was stunning with original exactness feeling and novelty. Gavarni-and that's why he is great-created two genres at once: the pencil-drawn comedy of manners and the caption. His reputation became huge. True enough much of his audience only saw the funny aspect of the genre and called his drawings "caricatures" without noticing any difference with those of Daumier. But all sensitive souls were seduced by their elegance and subtlety and easily perceived their uniqueness." oldbookillustrations.com. Armelhault & Bocher pp. 88-95 11 unnumbered 348-368. Not mentioned in Ray. Paris: Caboche, Grégoire , 1837 unknown books
1857réf. 24518Paris: Chez Aubert & Cie 1857. Very good condition. A caricature by Paul Gavarni 1804 - 1866 French satirical artist noted for his clever observations of contemporary life and elegant genre scenes and imitated by artists such as James McNeill Whistler. In this image the Chinese opium war is the subject of the husband's concentration while reading the paper; the young wife is attempting to convince him to leave for a 9am appointment. Signed in the print at the lower left. Magnificently hand colored lithograph highlighted with gum arabic. Damp stain right edge not affecting the image; small chip upper left corner. Light fold at center. Paper size approximately 9 1/2 x 12 1/2" Chez Aubert & Cie unknown
réf. 71-6846Paris: L’Artiste circa 1875. Hand-colored etching and engraving. 28.5 x 17.5 cm sheet. Very Good some foxing in the margins missing lower right sheet corner.Provenance: ancienne galerie Vandevoorde 22 rue Vignon Paris. Paris: L’Artiste, circa 1875. unknown
1840réf. 84572Paris: Martinon 1840. Cm. 28 pp. 4 403 1. Con grandi testate e 100 litografie a piena pagina disegnate da Gavarni. Legatura del tempo in mezzo marocchino blu a fascia larga dorso a nervi con titoli e ricchi fregi in oro. Taglio di testa dorato e brossura originale preservata all'interno. Piatti e sguardie marmorizzate ex libris inciso. Mimimi segni d'uso alle cerniere. esemplare genuino e ben conservato. Prima edizione non comune. Martinon unknown
réf. 0260325163.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0265110750.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
