Odilon RedonBiblio.com
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réf. 116638Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1896. 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. BN388876langues de l'Italie medievale. Textes d'histoire et de litterature Xe-XIVe siecle langues de l'Italie medievale. Textes d'histoire et de litterature Xe-XIVe siecle O Redon L. Battaglia Ricci P.G. Beltrami J. Brunet A. Grieco unknown
réf. 33988Turnhout Brepols 2002. Paperback approx. 412 p. 19 b/w ill. 156 x 234 mm. ISBN 9782503511009. Cet ouvrage introduit le chercheur et l'etudiant aux richesses de l'italien medieval. Il presente outre les introductions philologiques d'innombrables modeles provenant de milieux d'ecriture varies: l'administration le monde litteraire le domaine des arts sciences et techniques. Ce volume est d'abord une introduction a la lecture des textes medievaux ecrits dans " l'italien des origines ". Mais justement il n'existe pas avant le XVIe siecle une langue italienne; il y a des langues et le livre saisit le moment ou elles commencent a s'ecrire en leur variete depuis le Xe siecle et surtout aux XIIIe et XIVe siecles. Le parcours a travers les textes commence par les recits historiques en hommage aux premiers historiens en langues italiennes; un autre chapitre presente les enonces du pouvoir. Le chapitre central et le plus volumineux introduit aux diverses formes d'ecriture de la vie sociale: temoignages memoires lettres regles de vie modeles bio-hagiographiques. Un autre long chapitre fait entrer dans la somptueuse creation litteraire de l'Italie de Frederic II et des Etats communaux celle des " trois couronnes " Dante Boccace et Petrarque. Le dernier chapitre montre le souci de construire et transmettre les savoirs dans la langue des echanges sociaux. Chaque texte est autonome annote traduit et commente; mais souvent l'un repond a l'autre ou lui fait echo. De nombreuses correspondances ont ete menagees qui suggerent d'autres parcours. Le plus important est certainement le parcours geographique des langues usuelles; mais le lecteur decouvrira aussi l'attention constante au manuscrit diverses formes d'association entre texte et image - eventuellement sur des murs peints - le souci de la femme la preoccupation de la nourriture; il comprendra le role decisif des notaires et des freres mendiants en ces inventions d'une ecriture dans la langue dite " vulgaire ". Une introduction philologique nourrie donne des cles pour la comprehension des textes et leur situation dans l'histoire de la langue italienne. Elle est relayee par une bibliographie methodique qui permettra au lecteur de ne pas laisser insatisfaites les curiosites eveillees par ce livre. Languages: French. Turnhout Brepols 2002 paperback
réf. WARE1191114BREPOLS PUBLISH. Like New. Prompt shipment with tracking. we ship in CLEAN SECURE NEW boxes BREPOLS PUBLISH unknown
réf. 33988Turnhout, Brepols, 2002 Paperback, approx. 412 p., 19 b/w ill., 156 x 234 mm. ISBN 9782503511009.
1969réf. ST20561Paris: Les Peintres du Livre 1969. No. 129 of 3000 copies for sale and 50 hors commerce. 225 x 215 mm. 8 7/8 x 8 3/4". 110 pp. BOLD MOSAIC MOROCCO BY THORVALD HENNINGSEN tan oasis goatskin with abstract mosaic centerpiece in shades of orange yellow and mahogany suggesting flames this flanked by five thin curving black morocco inlaid lines on either side smooth spine with lettering in gilt and blind leather hinges top edge gilt. In the original felt-lined matching morocco-lipped slipcase. Housed in a felt-lined red archival box with paper label reading "174 Henningsen" on one side. With 40 full-page illustrations based on Redon's lithographs. Acquired from the bookbinder's estate since 2017 in the Hans Burkhardt Collection Henningsen catalogue raisonnée no. 174. As new. This ominously illustrated edition of Flaubert's dramatic poem recounting the Devil's temptation of Saint Anthony the Great comes in a handsome binding that pays homage to the legend with an abstract design evoking the shifting sands of the Desert Father's habitat and the flames of desire that tormented him. Flaubert spent more than 25 years writing and rewriting this work which was finally published in 1874. It recounts one day in the life of the Desert Father who is considered the founder of Western monasticism a day during which Satan tries to lure him away from God using promises of wealth power revenge carnality and other forms of indulgence. The "Oxford Companion" calls it "remarkable for its beauty of style and language and its imaginative power." Symbolist artist Odilon Redon who had illustrated Stéphane Mallarmé's French translation of Poe was inspired to create a series of drawings for Flaubert's work. The dark foreboding lithographs here are early examples of his trademark "Noirs" images first rendered in charcoal and then recreated as lithographs. Redon said of his all-black compositions: "One must respect black. Nothing prostitutes it. It does not please the eye and it awakens no sensuality. It is the agent of the mind far more than the integral part of the artist's fantasy." A Studio International article on the 2006 MOMA exhibit of Redon's work "Beyond the Visible" notes "In these early drawings he developed an easily recognisable repertoire of menacing subjects; these included odd amoeboid creatures and insects and plants with human heads. Furthermore there seem to be numerous pictures of severed heads 'Head of St John the Baptist' and it is also evident that he had a fascination in death 'Through the crack in the wall the head of death was projected'." In her exhibit catalogue essay Marina van Zuylen places Redon's art somewhere "between the rational and the irrational norm and deviation bringing to the public the wonders of the hybrid and the grotesque." Binder Thorvald Henningsen 1896-1977 was apprenticed to Konrad Häsler of Zurich 1910-14 and qualified as a master craftsman in 1921. He managed a bindery in Bern from that time until 1946 when he was able to set up his own workshop in Zurich where he created beautiful bindings until 1972. His devotion to his craft is encapsulated in this statement: "A book must be beautifully bound not only for the customer's sake but even more so for the sake of the work itself for the joy of flawless design." Henningsen made additional contributions to bookbinding through his teaching at the arts and crafts schools in Zurich and Bern preparing pupils for the master craftsman's examination as well as his service to the Cantonal Zurich Master Bookbinder Association and the Museum of Bookbinding. Our volume was once owned by Swiss-American Abstract Expressionist Hans Burkhardt 1904-94 who was no doubt attracted to the binding by his fellow Swiss but likely also to the brooding illustrations of Redon. Burkhardt's own works contemplated death and human tragedy with art historian Donald Kuspit calling him "a master—indeed the inventor—of the abstract memento mori" and Eugene Anderson declaring him "Goya's spiritual heir." Burkhardt carefully protected the book in an archival box and it remains as pristine as the day it left the binder. Les Peintres du Livre unknown books
1969réf. ST20561Paris: Les Peintres du Livre 1969. No. 129 of 3000 copies for sale and 50 hors commerce. 225 x 215 mm. 8 7/8 x 8 3/4". 110 pp. BOLD MOSAIC MOROCCO BY THORVALD HENNINGSEN tan oasis goatskin with abstract mosaic centerpiece in shades of orange yellow and mahogany suggesting flames this flanked by five thin curving black morocco inlaid lines on either side smooth spine with lettering in gilt and blind leather hinges top edge gilt. In the original felt-lined matching morocco-lipped slipcase. Housed in a felt-lined red archival box with paper label reading "174 Henningsen" on one side. With 40 full-page illustrations based on Redon's lithographs. Acquired from the bookbinder's estate since 2017 in the Hans Burkhardt Collection Henningsen catalogue raisonnée no. 174. As new. This ominously illustrated edition of Flaubert's dramatic poem recounting the Devil's temptation of Saint Anthony the Great comes in a handsome binding that pays homage to the legend with an abstract design evoking the shifting sands of the Desert Father's habitat and the flames of desire that tormented him. Flaubert spent more than 25 years writing and rewriting this work which was finally published in 1874. It recounts one day in the life of the Desert Father who is considered the founder of Western monasticism a day during which Satan tries to lure him away from God using promises of wealth power revenge carnality and other forms of indulgence. The "Oxford Companion" calls it "remarkable for its beauty of style and language and its imaginative power." Symbolist artist Odilon Redon who had illustrated Stéphane Mallarmé's French translation of Poe was inspired to create a series of drawings for Flaubert's work. The dark foreboding lithographs here are early examples of his trademark "Noirs" images first rendered in charcoal and then recreated as lithographs. Redon said of his all-black compositions: "One must respect black. Nothing prostitutes it. It does not please the eye and it awakens no sensuality. It is the agent of the mind far more than the integral part of the artist's fantasy." A Studio International article on the 2006 MOMA exhibit of Redon's work "Beyond the Visible" notes "In these early drawings he developed an easily recognisable repertoire of menacing subjects; these included odd amoeboid creatures and insects and plants with human heads. Furthermore there seem to be numerous pictures of severed heads 'Head of St John the Baptist' and it is also evident that he had a fascination in death 'Through the crack in the wall the head of death was projected'." In her exhibit catalogue essay Marina van Zuylen places Redon's art somewhere "between the rational and the irrational norm and deviation bringing to the public the wonders of the hybrid and the grotesque." Binder Thorvald Henningsen 1896-1977 was apprenticed to Konrad Häsler of Zurich 1910-14 and qualified as a master craftsman in 1921. He managed a bindery in Bern from that time until 1946 when he was able to set up his own workshop in Zurich where he created beautiful bindings until 1972. His devotion to his craft is encapsulated in this statement: "A book must be beautifully bound not only for the customer's sake but even more so for the sake of the work itself for the joy of flawless design." Henningsen made additional contributions to bookbinding through his teaching at the arts and crafts schools in Zurich and Bern preparing pupils for the master craftsman's examination as well as his service to the Cantonal Zurich Master Bookbinder Association and the Museum of Bookbinding. Our volume was once owned by Swiss-American Abstract Expressionist Hans Burkhardt 1904-94 who was no doubt attracted to the binding by his fellow Swiss but likely also to the brooding illustrations of Redon. Burkhardt's own works contemplated death and human tragedy with art historian Donald Kuspit calling him "a master—indeed the inventor—of the abstract memento mori" and Eugene Anderson declaring him "Goya's spiritual heir." Burkhardt carefully protected the book in an archival box and it remains as pristine as the day it left the binder. Les Peintres du Livre unknown
1896réf. 48749Paris.: Published by the author. 1896. Loose as issued in original publisher's wrapper with lithograph vignette and text and original burgundy portfolio with gilt titles to front cover. Folio. 586 x 410 mm. Leaf with lithograph title and vignette printed in vermillion and signed in crayon by Redon and 23 original lithographs on chine appliqué by Redon mounted to larger sheets of stiff card each with printed title beneath and signed on the lithograph by Redon in pencil. PROVENANCE: From the collection of André Gide 1869 - 1951 purchased by him in June 1896; collection of Gide's only child Catherine Gide and by descent. André Gide's exceptional copy of the 'Troisième Série' of 'La Tentation de St. Antoine' with all of the lithographs signed in pencil by his friend the artist Odilon Redon.From the edition limited to 50 copies; this copy features the title signed 'Odilon Redon' in crayon and all 23 of the lithographs signed in pencil by Redon in capitals as usual.The complete album comprising the title-page with the lithograph vignette printed in yellow on Japon and the set of 23 lithographs to illustrate Flaubert's text printed on chine applique each signed individually in pencil by Redon with his small capitals within the subject; the lithographs were printed by Clot and Blanchard Paris.Redon spent much of 1895 making 'La Tentation de St. Antoine. 3me. Serie' - his first album of lithographs in five years - his third and most ambitious effort based on Flaubert's novel. He produced only one more album of lithographs 'Apocalypse de St. Jean' in 1899.'Monsieur Votre nouvelle suite pour la Tentation de Saint Antoine est si belle si merveilleuse que je voulais vous exprimer de vive voix toute l'admiration de qui vous aime depuis longtemps déjà . '. André Gide writing to Odilon Redon in June 1896. This series and Gide's letter which served to introduce Gide and Redon personally led to Redon inviting Gide to his studio and the beginning of their friendship.'Flaubert's first magnum opus retelling the temptations that afflicted Saint Anthony was completed over twenty-five years before its publication in 1874. The mystical trials were compelling subjects for Redon who made three sets of illustrations in which he tried to fathom their symbolic content. The last and largest series of lithographs on the temptations this set was commissioned by Vollard and issued in 1896 many decades before they were incorporated into book form after the artist's death.' Castleman.Plate 1. Title printed in yellow on chine .Plate 2. 'Sainte Antoine: Au secours mon Dieu!'. Mellerio 135.Plate 3. 'Et partout ce sont des colonnes de basalte . La lumière tombe des voutes'. M.136.Plate 4. 'Mes baisers ont la goût d'un fruit qui se fondrait dans ton coeur! Tu me dédaignes! Adieu! M. 137.Plate 5. 'des fleurs tombent et la tête d'un python parait'. M. 138.Plate 6. 'dans l'ombre des gens pleurent et prient entourés d'autres qui les exhortent et les consolent'. M.139. Plate 7. ' . et il dist ingue une plaine aride / et mamelonneuse'. Signed in pencil by Redon. M. 140.Plate 8. 'Elle tire de sa pointrine une éponge toute noir la couvre de baisers'. M. 141.Plate 9. ' . je me suis enfoncé dans la solitude. J'habitais l'arbre derrière moi'. M. 142Plate 10. 'Hélène Errnoia'. Signed in pencil by Redon. M. 143.Plate 11. 'immédiatement surgissent trois déesses'. M. 144.Plate 12. 'l'intelligence fut à moi! Je devins le Buddha!. M. 145.Plate 13. ' . et que des yeux sans tête flottaient comme des molusques'. M. 146.Plate 14. 'Oannes: Moi la première conscience cu Chaos j'ai surgi de l'abime / pour durcir la matière pour régler les formes:'. M. 147.Plate 15. 'Voici le Bonne - Déesse l'Idéenne des montagnes'. M. 148.Plate 16. 'Je suis toujours la grande Isis! nul encore n'a soulevé mon voile! Mon fruit est le soleil!' M. 149.Plate 17. 'Il tombe vers l'abime la tête en bas'. M. 150.Plate 18. 'Antoine: Quel est le but de tout cela Le Diable: Il n'y a pas de but!'. M. 151.Plate 19. 'La Vieille: Que crains-tu Un large trou noir! Il est vide peut-être' M. 152.Plate 20. 'La mort: C'est moi qui te rends sérieuse; enlaçons-nous'. M. 153.Plate 21. ' . J'ai quelquefois aperçu dans le ciel comme des formes d'esprits'. M. 154.Plate 22. ' . les bêtes de la mer rondes comme des outres'. Signed in pencil by Redon. M. 155.Plate 23. 'des peuples divers habitent les pays de l'Océan'. M. 156.Plate 24. 'Le jour enfin parait et dans le disque même du soleil rayonne la face de Jésus-Christ'.Mellerio 134 - 157; Manet to Hockney 13; Castleman 11; Logan 6. Published by the author. unknown
1896réf. 48705Paris.: Published by the author. 1896. Contemporary full fawn crushed morocco by Thierry St. de Petit-Simier with his signature gilt gilt title to upper board inner dentelles ruled in gilt marbled endpapers. Folio. Title page with vignette printed in purple on Japon and 23 monochrome lithographs by Redon 22 are signed in pencil printed on chine and mounted to larger sheets. Printed by Clot and Blanchard Paris. From the edition limited to 50 copies.The complete album comprising the title-page with the lithographed vignette printed in purple on Japon signed in purple by Redon and the set of 23 lithographs to illustrate Flaubert's text printed on chine appliqué all with the exception of one signed individually in pencil with the small capitals within subject.Redon spent much of 1895 making La Tentation de St. Antoine. 3me. Série his first album of lithographs in five years. He produced only one more album of lithographs Apocalypse de St. Jean in 1899.'Flaubert's first magnum opus retelling the temptations that afflicted Saint Anthony was completed over twenty-five years before its publication in 1874. The mystical trials were compelling subjects for Redon who made three sets of illustrations in which he tried to fathom their symbolic content. The last and largest series of lithographs on the temptations this set was commissioned by Vollard and issued in 1896 many decades before they were incorporated into book form after the artist's death.' Castleman.Manet to Hockney 13; Castleman 11; Logan 6. Published by the author. unknown
2014réf. 2-2343041911Editions L'Harmattan 2014. Paperback. New. 304 pages. French language. 9.45x6.14x1.02 inches. Editions L'Harmattan paperback
réf. 54750Paris 1912. Original printed colour illustration in landscape format c. 30 x 42 cm with "daily" roneo-printed menu on verso portrait format within green art nouveau style decorative border. Minor creases and repaired tears to margins generally very good. Paris 1912 unknown
2011réf. 2-2296131387Editions L'Harmattan 2011. Paperback. New. 290 pages. French language. 8.43x5.35x0.87 inches. Editions L'Harmattan paperback
réf. 1656374Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1896. 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. 1656371Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1896. 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. 1656373Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1896. 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. 1656372Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1896. 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
1984réf. 174368Paris: Ministère de la culture 1984. Softcover. VG bumping and wear to corners and block edges overall general shelf wear to spine and wraps previous owner's name in ink inside front cover. Color illustrated wraps spine is white with black lettering 255 pp 12 unnumbered pages of plates richly illustrated in bw and color. Written in French. Includes reproductions of Odilon Redon's work and bibliographical references prelim. page 19. Ministère de la culture paperback books
réf. 65824Reunion des Musees Nationaux P. 1984 In-4 27 cm 255pp. 542 references illustr. frontispice en couleurs et hors-textes bon etat bon etat Ats10 Sommaire: La donation - Odilon Redon biographie - Ouvrages - Expositions - Catalogue des oeuvres d'Odilon Redon: Peintures - Pastels - Fusains - Dessins - Carnets unknown
1984réf. 174368Paris: Ministère de la culture 1984. Softcover. VG bumping and wear to corners and block edges overall general shelf wear to spine and wraps previous owner's name in ink inside front cover. Color illustrated wraps spine is white with black lettering 255 pp 12 unnumbered pages of plates richly illustrated in bw and color. Written in French. Includes reproductions of Odilon Redon's work and bibliographical references prelim. page 19. Ministère de la culture paperback
réf. 36700Costallat s.d Petit-In-4 160pp. reliure demi-toile percaline epoque unknown
réf. RO50042876COSTALLAT & CIE. NON DATE. In-Folio. Broché. Etat d'usage, Tâchée, Dos satisfaisant, Quelques rousseurs. 5 pages de partitions. Transcription par E. Redon. Premier plat illustré en couleur, et photographie de Hector Berlioz. Premier et deuxième plat désolidarisés.. . . . Classification Dewey : 780.26-Partitions
réf. 2310Editions d'Art Aurore ; Editions Cercle d'Art, Léningrad ; Paris, 1982. Reliure éditeur en tissu. État : Bon. édition Française. In-4°. N.p., In-4, reliure éditeur de tissu ocre, étui illustré. Toute la peinture française du musée de Léningrad (Fantin-Latour, Redon, Boudin, Monet, Pissarro, Renoir, Degas, Cézanne, etc.). 11 pages d'introduction par A. Izerghina. Reproduction en couleurs de toute la collection, 314 tableaux, avec 44 détails en gros plan.
1934réf. LFA-126719506Une plaquette de 64 pages, format 170 x 240 mm, illustrée, brochée couverture couleurs, publiée en 1934, Librairie Hachette, collection "Encyclopédie par l'Image", bon état
1969réf. 78170Paris, Editions L.C.L., 1969, in-4, relié sous étui éditeur (23x21cm), np. Bel exemplaire. 42 illustrations à pleine page. Envoi de Claude Roger-Marx.
1974réf. 31585Paris Flammarion 1974 In-8 carré Notices bio-bibliographiques par Lydie Huyghe - 478 pp - illustrations noir & blanc comprises dans la pagination, illustrations couleurs non comprises dans la pagination
