Cham (Amédée Charles de Noé, dit)Livre Rare Book
10 198 résultats
réf. 25654Le Charivari, trente-quatrième année, samedi 29 juillet 1865- Lithographie - Œuvre: Hauteur: 43.9cmx Largeur: 31cmDimensions - Trait carré: Hauteur: 23.2cmx Largeur: 19.9cm- 1 feuillet ; illustration page 3.- Au dessus de l'image, centré : "ACTUALITES" ; et à droite : "314" ; signature en bas de l'image à droite : "R CHAM" ; en dessous de l'image à gauche : "M[ais]on Martinet Paris" ; en dessous de l'image à droite : "Lith Destouches Paris" ; en dessous, centré : "- Bonjour Mr Abdel Kader ! bien aise de vous voir en bonne santé / - Tu te rappelles donc de moi ? / - Mais oui ! à tous les changements de temps !"Personnage représenté:Abd al-Qādir ibn Muhyī al-Dīn al-Ǧazā'irī
réf. 13605Belle lithographie rehaussée de couleurs gommées. En feuille Très bon Paris Lebrasseur et Delarue XIXè 56 X 42,5 cm
réf. 13606Belle lithographie rehaussée de couleurs gommées. En feuille Très bon Paris Lebrasseur et Delarue XIXè 48 x 38,5 cm
réf. 24159Le Journal des Dames et es Modes, Costume Parisens., .an 7,Belle épreuve aux coloris très frais, coupée aux limites du cuivre 19 x 12 cm,sur papier vert, doublée et montée sur carton fort,gravure d'époque.
1913réf. 54567Lucien Vogel éditeur | Paris Août 1913 | 19 x 24.50 cm | une feuille
1913réf. 89512Paris Août 1913 | 19 x 24.50 cm | une feuille
1929réf. 518Paris: Éditions du Scarabée 1929. First Edition. Near fine. Large 8vo 11 7/8 x 9 3/4 inches 302 x 250 mm; 45 pp. with 4 etchings by Gio Colucci. Edition limited to 115 numbered copies on white Arches paper with Jenson type of which this is copy no. 50 as printed on the limitation page. Loose as issued in portfolio with original paper cover with flaps printed in red and black with beautiful typography and with its original glassine wrapper. There is some toning and slight wear to the glassine and cover and offset to pages facing the etchings but the portfolio is in excellent condition and the impressions strong and powerful. Inscribed and dated in pencil by artist on the half title. BNF31506565. This play by François Turpin was created on the stage of the Atelier in Paris by the Athéna theater on February 1 1928 Gio COLUCCI 1892-1974 Painter sculptor ceramist was born in Florence. Éditions du Scarabée unknown
1921- Lucien Vogel éditeur, Paris 1921, 18x24cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en haut à droite de la planche. Gravure originale réalisée pour l'illustration de La
1913- Lucien Vogel éditeur, Paris Août 1913, 19x24,5cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en bas au milieu de planche. Gravure originale réalisée pour l'illu
réf. 133342986X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. ria9798170494729_inpPaperback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; BookGen OS v3.1 User Guide & ManualTurning an AI-assisted book project into a professional nonfiction manuscript requires a clear workflow. You need to know what to do first which prompt to use what information is required when to re paperback
réf. 15-5747Ann Arbor MI.: Passim Editions 1998. 12mo. Thirteen Book Marks Very Good with some creasing. Envelope addressed to Peter Howard & of Serendipity Books present. Thirteen bookmarks letterpressed on handmade paper with wood-engravings. Ann Arbor, MI.: Passim Editions, 1998. unknown
19994to., First Edition, with a frontispiece and very numerous reproductions from engravings in the text; cloth, gilt back, a fine copy in unclipped dustwrapper.
Acquaforte e acquatinta. Opera riprodotta in copertina del catalogo dell'''Opera incisoria'' Firma e data a matita. Firma a secco su foglio. Certificato di autenticità rilasciato dall'Editore. Esemplare 65/80. Cm 29,5x49,5 (Foglio 50x70). pp.. . Ottimo (Fine). . Tiratura 80. .
réf. 40223Paris Editions Cercle d'Art 1992 in 4 (31x23,5) 1 volume reliure cartonnée rouge de l'éditeur sous jaquette rempliée illustrée, XXIII et 183 pages, avec 216 illustrations, dont 119 en couleurs. Fernando Botero, né à Medellín en 1932, peintre et sculpteur colombien. Très bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
Large 4to (225 x 268 mm). 224 unnumbered ff. with more than 250 page-sized plant illustrations, mostly in a mixed techique of nature printing and coloured drawings. Also includes 3 coloured engraved plates and 1 tipped-in coloured lithograph. Later half calf over marbled boards with stamped title to spine. An uncommon collection of talented botanical illustrations, many based on nature prints amplified and coloured in various techniques. The plates show mainly medicinal and culinary plants (belladonna, calendula, tobacco, eggplant "from Arabia" etc.), frequently with blossoms and fruits. All plates are identified in Latin, many have additional notes in German stating the plants' flowering season and place of origin. Some plates are signed "G.F.", a fact which has suggested attribution to the Austrian naturalist Georg von Frauenfeld (1807-73), one of the leading scientists on the Novara expedition (cf. Reiss 77 [2001], lot 77). Frauenfeld himself published a book on the algae of the Dalmatian coast, illustrated by nature printing (cf. Fischer, Naturselbstdruck, no. 72). Includes three engravings and one lithograph from other botanical works. - Occasional light browning and fingerstaining; a few slight edge defects, but well preserved altogether.
réf. 1637625X33 cm
réf. 7293Tirage sur vergé. Elle a été imprimée par Salmon. D’après Théodore Rousseau. Belle épreuve, réalisée pour illustrer le catalogue de la vente Michel de Trétaigne en 1872. Béraldi 329. IFF 325. en feuille 12,5 x 15,5 cm.
réf. 26459ST.Germain en Laye 1 janvier 1878,eau-forte originale signée avec envoi,rare
réf. 5870[s.l.n.n.], [fin XVIe s.] Vue de Bourges (20 x 46 cm hors marges, 21 x 53 cm toutes marges comprises) gravée en taille-douce sur double page (dont elle constitue la moitié inférieure). Mention Depingebat Georgius Hoefnagle (Georg Hoefnagel l'a dessiné) gravée au bas de la vue. Légende donnant le nom des monuments numérotés. Tirage de l'époque. Bon état. Pliure centrale.
réf. 24156Le Journal des Dames et es Modes, Costume Parisens., .an ,Belle épreuve aux coloris très frais, coupée aux limites du cuivre 19 x 12 cm,sur papier vert, doublée et montée sur carton fort,gravure d'époque.
1921réf. 54925Lucien Vogel éditeur | Paris 1921 | 18 x 24 cm | une feuille
1921- Lucien Vogel éditeur, Paris 1921, 18x24cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en bas à gauche dans la planche. La Gazette du bon ton, l'une des plus bel
réf. 26367Planche HT parue dans La Caricature politique, morale, littéraire et scénique, volume 5, 10 janvier 1833 (Planche n°237)- Lithographie - Oeuvre: Hauteur: 27.3cmx Largeur: 35.8cm - Image: Hauteur: 20.2cm Largeur: 23.4cm - Titre en bas au centre : « BRAVO ! TOUS LES COUPS PORTENT. » ; indications : en ht à gche : « La Caricature (Journal) N°114. », en ht à dte : « Pl. 237. »Inscription - Dans la lettre : « Lith. de Becquet, rue childebert N°9. » [imprimeur], « On s’abonne chez Aubert, Galerie véro dodat. » [éditeur] ; attribution : Auguste Desperet ?
The standard catalogue raisonne of Bracquemond's prints from 1849 to 1859, far and away the most fertile and important years of his career. About 200 items illustrated and described in exhaustive detail. Folio. Publisher's cloth with dustjacket and board slipcase. As new.
