DEROY (Isidore);Livre Rare Book
216 risultati
1850rif. LBW-1139Paris L. Turgis circa 1850 380 x 501 mm.
1850rif. P3474Paris: L.Turgis 1850. Very Good. Notes: 19th century French view of Moscow showing people watch a military parade. The Moscow Kremlin also referred to as simply the Kremlin is a historic fortified complex at the heart of Moscow overlooking the Moskva River to the South Saint Basil's Cathedral and Red Square to the East and the Alexander Garden to the West. It is the best known of Kremlins Russian citadels and includes four palaces four cathedrals and the enclosing Kremlin Wall with Kremlin towers. Image Size : 292x476 mm 11.50x18.75 Inches Platemark Size : Paper Size : 394x536 mm 15.50x21.10 Inches Coloring: Original Hand Coloring Medium: Lithograph Categories: Views Europe Russia; L.Turgis unknown
rif. 2126Publié par Alphonse Gatineau, Imprimeur-Libraire, Éditeur des Panoramas de la Loire, Orléans, Rues Royales et Jeanne d'Arc, sans date (1830-1850?).Un volume relié format à l'italienne (25,5 x 34 cm) de 15 planches lithographiées en couleurs. Reliure demi chagrin vert, dos lisse muet. Reliure légèrement usée sinon bon état.Les vues sont lithographiées en forme de médaillon. Vues d'Orléans, de la source du Loiret, du chateau de Chambord, d'Amboise, de Blois, de Tours, de Chenonceaux , de Saumur...Les planches sont lithographiées par ou d'après A. Deroy, certaines comportent un cachet à froid du Libraire Gatineau représentant la cathédrale d'Orléans.Quelques rares rousseurs sinon planches en très bel état.
rif. 2126Publié par Alphonse Gatineau, Imprimeur-Libraire, Éditeur des Panoramas de la Loire, Orléans, Rues Royales et Jeanne d'Arc, sans date (1830-1850?).Un volume relié format à l'italienne (25,5 x 34 cm) de 15 planches lithographiées en couleurs. Reliure demi chagrin vert, dos lisse muet. Reliure légèrement usée sinon bon état.Les vues sont lithographiées en forme de médaillon. Vues d'Orléans, de la source du Loiret, du chateau de Chambord, d'Amboise, de Blois, de Tours, de Chenonceaux , de Saumur...Les planches sont lithographiées par ou d'après A. Deroy, certaines comportent un cachet à froid du Libraire Gatineau représentant la cathédrale d'Orléans.Quelques rares rousseurs sinon planches en très bel état.
rif. 16-4903Paris: Aumont and London: Ch. Tilt circa 1831. Small folio. 25.5 x 34.6 cm. Contemporary gilt roan. Title page by Victor Adam and 38 plates with 2 lithographs per page on rag paper by Adam and others. Light foxing. Very rare. Nont in OCLC.Inventaire du fonds français après 1800. Tome premier Abbéma-Beaumont Reprod. en fac-sim. / Bibliothèque nationale Département des estampes ; par Jean Laran. 1930.________________________________________Extract 1 : La Variété nouveau recueil de croquis par divers artistes chez Aumont et chez Tilt 1831 : 1e Lon n° 3 Le Bac Le taureau échappé.Album de lithographies comportant de sujets divers. Paysages bateaux animaux sauvages métiers et scènes animés.Superbes tirages en lithographie le tout sur beau papier.Titré et 38 planches superbement imprimées par la Maitre de la lithographie LEMERCIER.Volume in-folio reliure du temps en maroquin vieux rouge Paris: Aumont and London: Ch. Tilt, circa 1831 unknown
1857rif. 528301 vol. in-8 format à l'italienne cartonnage éditeur pleine percaline rouge, Chez Dusacq et Cie, Imp. Lemercier, Paris, s.d. [circa 1857], 1 f. de titre, avec 20 vues (dont 5 doubles) en lithographies en couleurs. Lucerne, vue prise de Gutch - Panorama du Lac de Lucerne (planche double) - Lucerne. Hôtel de Schweizerhof - Lucerne. Vue des Remparts - Le Lion de Lucerne - Vue du Lac de Lucerne prise du Kussnacht - Chapelle de Guillaume-Tell - Veggis, au Lac des Quatre-Cantons - Vue du Rigi, entre le Rigi Kulm et le Rigi Staffel - Les Bains Froids sur le Rigi - Le Rigi Culm - Rigi Staffel (planche double) - Rigi Kulm (planche double) - Panorama des Alpes Bernoises vue du Rigi (planche double) - Brunnen (planche double) - Le Grutli. Lac des 4 Cantons - Chapelle de Guillaume Tell sur le Lac des 4 Cantons - Fluelen Lac des 4 Cantons - Stanztadt. Lac des 4 Cantons - Am Ort Lac des 4 Cantons
1861rif. P2517Paris: L. Turgis c. 1861. Some discolouration of the margins otherwise in very good condition. Notes: View of Jerusalem taken from the Mount of Olives. Image Size : 380x498 mm 14.96x19.61 Inches Platemark Size : Paper Size : 458x628 mm 18.03x24.72 Inches Coloring: Original Hand Coloring Medium: Lithograph Categories: Views Asia Middle East Holy Land & Palestine; L. Turgis unknown
rif. 11127Suite de 62 Lithographies et gravures sur acier numérotée 30 à 100, en deux albums, de format 24x26cm, pleine toile noire de l’éditeur, titre et décor dorés sur le premier plat, filets à froid;(petits raccommodages).62 Lithographies et gravures sur acier finement coloriées et gommées, par Melle Rose d’Ostervald, W.H Bartlett, Weber, Cognet, Himey, G Lory, Bettinger, Milbert, Salathé, Deroy, F Benoit….Toutes ces gravures sont finement coloriées et rehaussées à la gomme, certaines avec quelques rousseurs en marges, coloris très frais
rif. 137088aafGenève, chez Charnaux, Place de Bel-Air; Imprimerie Lemercier, (aussi, Paris, Wild, ou impr. Frick frères), s.d. vers 1850/60, in-8vo, (vues: 10x13.5 cm), 49 planches de vues lithogr. en couleurs, reliure en toile ornée, impr. de titre ( 14.5x18 cm).
rif. STLB0029Paris Jeannin s.d. ca 1860. ANSICHTENWERKE - gr.-querfolio 29 x 358 cm. Titel 20 lithographische Tafeln Halbfranzband Ecken u. Rücken etw. berieben. Die Tafeln breitrandig teils etw. stockfleckig Die Tafeln von Deroy 1797-1886 nach der Natur gezeichnet u. eigenhändig lithographiert Größe der Darstellung ca 23 x 27 cm zeigen: 1. Rom Piazza Navona. 2. Rom Trinita di Monti. 3. Rom Arco di Settimio Severo. 4. Rom Foro Romano. 5. Rom Ponte Rotto. 6. Rom Campo Vaccino. 7. Rom Castel e Ponte S. Angelo. 8. Rom Colonna Trajana. 9. Rom S. Pietro. 10. Rom Veduta del Tempio della Pace. 11. Rom Arco di Constantino. 12. Rom Avanzi del Tempio di Giove Statore. 13. Rom Avanzi del foro di Nerva. 14. Rom Arco di Tito. 15. Rom Pantheon. 16. Rom Tempio di Antonino e Faustina. 17. Lago di Como. 18. Milano Arco della Pace.19. Milano Corso di Servi. 20. Milano Il Duomo. - Differenzbesteuert Paris, Jeannin s.d. [ca 1860]. unknown
1869rif. 18641Paris, Alphonse Lemerre, 1869. In-8 de [4]-109-[7] pages, demi-maroquin lie-de-vin à coins, dos à nerfs, tranches dorées, couvertures et dos conservés. Reliure signée Semet & Plumelle.
rif. 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
rif. 06709Paris: Ch. Motte 1831. A Deluxe India-Paper Copy with Hand-Colored Plates Heightened in Gum Arabic Preserving All Three Original Pictorial Wrappers DEROY Isidore-Laurent. Les Rives de la Seine. Trente-six dessins lithographiés par M. Deroy. Publiés en trois livraisons par Ch. Motte éditeur. Paris: Ch. Motte 1831. First edition. Oblong folio 10 7/8 x 14 inches; 277 x 350 mm. Hand-colored lithographic vignette title-page engraved map and thirty-six hand-colored lithographic plates each printed on India paper and mounted all bearing the small oval embossed publisher's stamp in the lower blank margin "Lith. à Paris / C. Motte / and London." The coloring throughout heightened with gum arabic. Complete with all three original hand-colored pictorial wrappers and the original plain end wrappers bound in. The first pictorial wrapper with an early nineteenth-century ink ownership signature. Early-to-mid twentieth-century three-quarter red cloth over marbled boards spine with green morocco label lettered in gilt fore and lower edges uncut. Art Nouveau bookplate dated 1910 on front paste-down. A remarkably fresh and attractive copy. One of the most beautiful lithographic tours of the Seine produced during the great flowering of French Romantic lithography. Issued in three separately published livraisons by Charles Motte the work comprises thirty-six views drawn by Isidore-Laurent Deroy among the most accomplished architectural and landscape lithographers of the Restoration period. The plates follow the course of the Seine through Paris and the surrounding countryside combining topographical precision with the picturesque sensibility that made French lithography one of the defining artistic achievements of the early nineteenth century. The present copy appears to represent a deluxe issue of exceptional rarity. The plates are printed on India paper mounted embossed with Motte's oval publisher's stamp fully hand-colored and further heightened with gum arabic to produce an effect closely resembling contemporary watercolor drawings. Such copies are seldom encountered. The distinguished Bobins collection did not contain a colored example the standard bibliographical references do not appear to specifically record a colored issue and we have been unable to trace a comparable hand-colored copy at auction. The survival of all three original pictorial wrappers is equally noteworthy. Because the work was issued in separate parts the wrappers were ordinarily discarded when copies were bound. Their preservation here together with the original plain end wrappers provides an unusually complete record of the publication's original form. The early ownership signature on the first wrapper and the finely designed Art Nouveau bibliophile's bookplate dated 1910 further contribute to the volume's appealing provenance. A superb copy of one of the finest Romantic lithographic books devoted to the Seine preserved in a form that is almost certainly far rarer than the ordinary issue and among the most desirable examples likely to survive. Paris: Ch. Motte, 1831 unknown
rif. 06709Paris: Ch. Motte 1831. A Deluxe India-Paper Copy with Hand-Colored Plates Heightened in Gum Arabic Preserving All Three Original Pictorial Wrappers DEROY Isidore-Laurent. Les Rives de la Seine. Trente-six dessins lithographiés par M. Deroy. Publiés en trois livraisons par Ch. Motte éditeur. Paris: Ch. Motte 1831. First edition. Oblong folio 10 7/8 x 14 inches; 277 x 350 mm. Hand-colored lithographic vignette title-page engraved map and thirty-six hand-colored lithographic plates each printed on India paper and mounted all bearing the small oval embossed publisher's stamp in the lower blank margin "Lith. à Paris / C. Motte / and London." The coloring throughout heightened with gum arabic. Complete with all three original hand-colored pictorial wrappers and the original plain end wrappers bound in. The first pictorial wrapper with an early nineteenth-century ink ownership signature. Early-to-mid twentieth-century three-quarter red cloth over marbled boards spine with green morocco label lettered in gilt fore and lower edges uncut. Art Nouveau bookplate dated 1910 on front paste-down. A remarkably fresh and attractive copy. One of the most beautiful lithographic tours of the Seine produced during the great flowering of French Romantic lithography. Issued in three separately published livraisons by Charles Motte the work comprises thirty-six views drawn by Isidore-Laurent Deroy among the most accomplished architectural and landscape lithographers of the Restoration period. The plates follow the course of the Seine through Paris and the surrounding countryside combining topographical precision with the picturesque sensibility that made French lithography one of the defining artistic achievements of the early nineteenth century. The present copy appears to represent a deluxe issue of exceptional rarity. The plates are printed on India paper mounted embossed with Motte's oval publisher's stamp fully hand-colored and further heightened with gum arabic to produce an effect closely resembling contemporary watercolor drawings. Such copies are seldom encountered. The distinguished Bobins collection did not contain a colored example the standard bibliographical references do not appear to specifically record a colored issue and we have been unable to trace a comparable hand-colored copy at auction. The survival of all three original pictorial wrappers is equally noteworthy. Because the work was issued in separate parts the wrappers were ordinarily discarded when copies were bound. Their preservation here together with the original plain end wrappers provides an unusually complete record of the publication's original form. The early ownership signature on the first wrapper and the finely designed Art Nouveau bibliophile's bookplate dated 1910 further contribute to the volume's appealing provenance. A superb copy of one of the finest Romantic lithographic books devoted to the Seine preserved in a form that is almost certainly far rarer than the ordinary issue and among the most desirable examples likely to survive. Paris: Ch. Motte, 1831 unknown books
rif. 5709Nogent-sur-Oise and Paris France. Ca. 1861-1864. Oblong 4to 11" x 16" original pebbled burgundy morocco raised Gothic Revival strapwork with applied brass ornaments and two brass clasps at fore edge title stamped in black at upper cover a.e.g. 20 original watercolors 6" x 9.25" to 6.5" x 9.75" 3 tinted lithographs 5.875" x 5.625"; 4" x 5.75"; 7.25" x 5.25" all plus margins. CONDITION: Very good light wear to cover extremities. A lovely and historically valuable "estate portrait" album of original watercolor views by painter and lithographer Isidore-Laurent Deroy depicting the grounds of the Parc de Nogent and its residence noted for its incorporation of the façade of a 16th century château rescued from demolition at the eleventh hour in 1833. Constructed in the 1500s as an expansion and modernization of a fortification dating back to the Roman invasion the Château de Sarcus boasted twenty-two arches in total. It was designed by Martin Chambiges who worked in the high Gothic style and is known for the façades of several cathedrals. In 1833 its owner elected to demolish it and-so the story goes-Armand-Gustave Houbigant the mayor of Nogent-sur-Oise and the son of a famous early perfumer rushed nearly fifty miles to save it arriving in time to prevent the last three arches as well as several other architectural elements from being destroyed. Houbigant integrated the arched façade into his residence and as a historian wrote an account of what he had rescued. The Gothic façade appears in two of Deroy's watercolors and is the subject of all three of the lithographs one of which is captioned in the lower margin: "Trois des arcades du château de Sarcus Transportées et relevées par Mr. Houbigant à Nogent les Vierges Oise et formant un des façades de son habitation." After the second world war the Houbigant residence was vandalized and the façade was moved to the nearby parc Hébert à Nogent. Deroy's charming watercolors painted over the course of several years provide a comprehensive record of the Parc's many picturesque views and are almost always populated by figures-presumably meant to represent members of Houbigant's household-strolling with parasols along paths or across meadows boating on gentle waterways resting on the steps of a castle ruin playing with children or enjoying the view together often accompanied by their dog. In addition to the many lush and finely detailed landscapes Deroy's views show the Houbigant residence the Church at Nogent-sur-Oise exterior and interior and two other buildings as well as the distant town from within an octagonal or hexagonal porch with stained glass Gothic arches. In the captioned lithograph two male figures standing before the arched façade-one holding an open sketch book-likely represent Houbigant and Deroy themselves who were evidently artistic collaborators and friends. Armand-Gustave Houbigant who did not follow his father into the perfume business was a historian and visual artist. After inheriting his fortune he established himself at Nogent-sur-Oise in 1812. He is best known for designing a new set of playing cards in 1816 but he also produced numerous watercolors and views several of which Deroy lithographed and at least one of which "Lescar. Ruines du Château des Évêques de Béarn" 1854 Deroy actually retouched-"but only a little" according to an ink note on the painting: "he only touched the trees." Isidore-Laurent Deroy 1797-1886 was a painter draftsman and lithographer from Paris. He studied painting under Louis-François Cassas and architectural drawing under an artist cited in several sources simply as "Félix." His lithographs were exhibited at the Paris Salon from 1827 to 1866 and he received third class medals for lithography in 1836 and 1861. Some sources suggest he traveled to North America but this seems to be based on various lithographs of American views to his credit after August Kollner Köllner and others. All of these were produced by French lithographic firms-Gouptil and Vibert in the case of Kollner's "Views of American Cities"-but were often published by New York London and sometimes Berlin firms as well. From 1860 into the 1880s Deroy appears in the Paris trade directory Bottins as an "artiste-lithographe." A splendid collection of watercolor views of an impressive French country house and its grounds. REFERENCES: Houbigant A.-G. Notice sur le portique dit de Sarcus existant a Nogent-les-Vierges et faisant partie de l'habitation de M. Houbigant Portique élevé au moyen de quelques débris provenant de l'ancien château de Sarcus abattu en 1833 Nogent-les-Vierges 1857; Karel David. Dictionnaire des artistes de langue française en Amérique du Nord Musée du Québec 1992 p. 231; Lescar. Restes du château et des fortifications des évêques Dessins du musée national du château de Pau online. Nogent-sur-Oise and Paris, France. Ca. 1861-1864 unknown
rif. 5709Nogent-sur-Oise and Paris France. Ca. 1861-1864. Oblong 4to 11" x 16" original pebbled burgundy morocco raised Gothic Revival strapwork with applied brass ornaments and two brass clasps at fore edge title stamped in black at upper cover a.e.g. 20 original watercolors 6" x 9.25" to 6.5" x 9.75" 3 tinted lithographs 5.875" x 5.625"; 4" x 5.75"; 7.25" x 5.25" all plus margins. CONDITION: Very good light wear to cover extremities. A lovely and historically valuable "estate portrait" album of original watercolor views by painter and lithographer Isidore-Laurent Deroy depicting the grounds of the Parc de Nogent and its residence noted for its incorporation of the façade of a 16th century château rescued from demolition at the eleventh hour in 1833. Constructed in the 1500s as an expansion and modernization of a fortification dating back to the Roman invasion the Château de Sarcus boasted twenty-two arches in total. It was designed by Martin Chambiges who worked in the high Gothic style and is known for the façades of several cathedrals. In 1833 its owner elected to demolish it and-so the story goes-Armand-Gustave Houbigant the mayor of Nogent-sur-Oise and the son of a famous early perfumer rushed nearly fifty miles to save it arriving in time to prevent the last three arches as well as several other architectural elements from being destroyed. Houbigant integrated the arched façade into his residence and as a historian wrote an account of what he had rescued. The Gothic façade appears in two of Deroy's watercolors and is the subject of all three of the lithographs one of which is captioned in the lower margin: "Trois des arcades du château de Sarcus Transportées et relevées par Mr. Houbigant à Nogent les Vierges Oise et formant un des façades de son habitation." After the second world war the Houbigant residence was vandalized and the façade was moved to the nearby parc Hébert à Nogent. Deroy's charming watercolors painted over the course of several years provide a comprehensive record of the Parc's many picturesque views and are almost always populated by figures-presumably meant to represent members of Houbigant's household-strolling with parasols along paths or across meadows boating on gentle waterways resting on the steps of a castle ruin playing with children or enjoying the view together often accompanied by their dog. In addition to the many lush and finely detailed landscapes Deroy's views show the Houbigant residence the Church at Nogent-sur-Oise exterior and interior and two other buildings as well as the distant town from within an octagonal or hexagonal porch with stained glass Gothic arches. In the captioned lithograph two male figures standing before the arched façade-one holding an open sketch book-likely represent Houbigant and Deroy themselves who were evidently artistic collaborators and friends. Armand-Gustave Houbigant who did not follow his father into the perfume business was a historian and visual artist. After inheriting his fortune he established himself at Nogent-sur-Oise in 1812. He is best known for designing a new set of playing cards in 1816 but he also produced numerous watercolors and views several of which Deroy lithographed and at least one of which "Lescar. Ruines du Château des Évêques de Béarn" 1854 Deroy actually retouched-"but only a little" according to an ink note on the painting: "he only touched the trees." Isidore-Laurent Deroy 1797-1886 was a painter draftsman and lithographer from Paris. He studied painting under Louis-François Cassas and architectural drawing under an artist cited in several sources simply as "Félix." His lithographs were exhibited at the Paris Salon from 1827 to 1866 and he received third class medals for lithography in 1836 and 1861. Some sources suggest he traveled to North America but this seems to be based on various lithographs of American views to his credit after August Kollner Köllner and others. All of these were produced by French lithographic firms-Gouptil and Vibert in the case of Kollner's "Views of American Cities"-but were often published by New York London and sometimes Berlin firms as well. From 1860 into the 1880s Deroy appears in the Paris trade directory Bottins as an "artiste-lithographe." A splendid collection of watercolor views of an impressive French country house and its grounds. REFERENCES: Houbigant A.-G. Notice sur le portique dit de Sarcus existant a Nogent-les-Vierges et faisant partie de l'habitation de M. Houbigant Portique élevé au moyen de quelques débris provenant de l'ancien château de Sarcus abattu en 1833 Nogent-les-Vierges 1857; Karel David. Dictionnaire des artistes de langue française en Amérique du Nord Musée du Québec 1992 p. 231; Lescar. Restes du château et des fortifications des évêques Dessins du musée national du château de Pau online. Nogent-sur-Oise and Paris, France. Ca. 1861-1864 unknown books
