10 988 résultats
réf. S120588s.l. [Paris], P. Drevet s.d. [18th cy.] Album containing 135 engravings drawn and engraved by Adam Perelle (1640?-1695) and probably also by his father Gabriel Perelle (1604?-1677) and published by P. Drevet (as mentioned on most of the engravings) "avec la privilège du Roi", blind blue cartboard binding with traces of use (esp. worn at edges and corners), in oblong (25x33cm.), with heraldic ex-libris on first pastedown, collection of 135 rectangular and some circular engravings (representing views of rural landscapes, ruins, gardens, harbours, Paris,.. ), printed on Vergé paper, some browning of margins, with a printed title page only mentioning the title, this collection was most probably assembled by the Parisian print publisher and seller Pierre-François Drevet, weight: 1.4kg., S120588
réf. 7797Ader/Picard/Rheims/Laurin, Paris, 1971. In-4, cartonnage éditeur, non paginé [87 pp.]. Première vacation : Mardi 25 mai 1971 : Besnard - Bonnard - Boudin - Bourdelle - Bousingault - Braque - Cassatt - Cézanne - Chagall - Degas : dessins. - monotypes [n° 43-67] - Derain - Desboutin - Dufy - ...
1929réf. 13091Inventaire analytique. Tome IV : Napoléon et son temps. Envoi de l'auteur. Broché Très bon Paris Le Garrec 1929 1 très fort volume in-8°
1873réf. 182351873 [Imprimerie De Jules Claye, Paris,1873 - IN FOLIO demi basane noire ,manques au haut du dos.Cet ouvrage expose la magnifique collection d'oeuvres d'art du collectionneur belge John W. Wilson. Sa collection classée par écoles et peintres anciens et modernes regroupe des oeuvres des plus grands maîtres tels que Watteau, Rubens, Delacroix, Géricault, Turner, Millet (dont l'Angélus du soir est aujourd'hui exposé au musée d'Orsay) etc. Cet ensemble expose le goût certain et les connaissances pointues en Histoire de l'Art de John W. Wilson.Text pristine & unmarked, crisp, tight to the spine - LIMITED EDITION, NUMBERED COPY. Text in French. Pages and plates not numbered. 68 plates (incl. Ports. ) , facsimile signatures of the artists whose works are represented ; 51 cm. Among the artists represented: F. Bol, N. Maas, Molenaar, Diaz, Rousseau, Milet, Plassan, and others. Decorated endpapers and edges.
1984réf. 68557BBBerlin., Nationalgalerie Berlin., 1984. 30 x 21 cm. 39 S. Illustrierter OKarton., 68557B Erste Auflage. Kanten etwas berieben, Umschlag minimal angestaubt, sonst sehr gutes Exemplar.
198274 pages. Features: Dolls - From Toy to Collectible; Collecting Graphics - How to Distinguish Original Prints; Paperweight Collecting - Treasures in Glass; James Lorimer Keirstead; Figurines for Collectors; Canadiana captures plate market; Gregory Perillo documents American Indian; Expert Opinion; Showcase; Happenings; Vancouver Plate Collector's Fair; and more. Clean and unmarked with moderate wear. A quality copy. Magazine
1942réf. 21003Good. Color lithographs published by The Chicago Sun have soiling in the margins tack holes in margins and general wear. Please see photos up close for condition. 14" x 10" each.; Prints . 1942. unknown
1630réf. ABC_49153Flanders and Paris: various publishers 1630. Several prints are tipped into a 19th-century elaborately gold- and blind-tooled brown morocco album a blind-tooled ornament in the centre of both boards with the crowned initials J.B. on the front surrounded by a double fillet frame with elaborate corner pieces gold-tooled board edges and turn-ins gilt edges white watered silk endpapers. The work is housed in a 19th-century marbled slipcase with a paper label with the name of Countess Julie Visart de Bocarmé mounted on the front. The remaining prints have been tipped onto a sheet of sturdy paper inserted into a clear plastic file folder which are loosely inserted into a 19th-century elaborately gold- and blind-tooled purple morocco album with the word "album" lettered in gold on the front surrounded by a blind-tooled Gothic style border and an elaborate gold-tooled border gilt edges black watered silk end papers. Oblong folio ca. 29 x 42.5 cm; sheet size ca. 12 x 9 to 35 x 23 cm. With 24 contemporary hand-coloured engravings of which some heightened with gold 1 contemporary hand-coloured woodcut illustration 1 chromolithographed print 7 watercolour drawings including 2 on vellum 3 silk embroidered prints in various sizes and 1 image made of paper ornaments glued onto black netting. Further with a folded alphabetical list of the Antwerp printers and engravers of devotional prints in a 19th-century hand tipped onto the first leaf of the album. 2 volumes. Remarkable collection of 37 devotional prints and drawings including fifteen printed on vellum and two "clad" prints. The majority of the prints and drawings were made in the 17th and 18th centuries but a small number of 19th-century examples are also included. The prints all depicting Catholic saints and scenes are decorated using a wide variety of techniques. Most are hand coloured and heightened with gold but several are clad in fabric embroidered cut out to resemble lace sometimes backed with coloured paper or metal foil to highlight the cut-outs and one was made by gluing paper ornaments onto black netting. The present collection which was owned and probably compiled by the Belgian Countess Julie Alexandrine Marie Josèphe Visart de Bocarmé 1823-1862 not only offers a fascinating sample of popular print culture in Flanders but also highlights the creativity of both the makers and users of these prints.Devotional prints served as visual aids to private devotion and could also be used by those unable to read. They were often bought and decorated by women. The present prints were mainly engraved by 17th- and 18th-century Flemish printmakers such as Cornelius de Boudt 1660-1738 Michiel Cabbaey 1660-1722 Guillaume Collaert ca. 1595-ca. 1651 Lodewijk Joseph Fruytiers 1713-1782 Jacob de Man ca. 1643-1719 and Theodoor van Merlen III 1661-1749. In contrast to most examples of this genre most of the present engravings are printed on vellum and beautifully coloured by a contemporary hand partly heightened in gold for the halos of the saints. The prints include biblical scenes showing Christ on the Cross Joseph Mary the Apostles and John the Baptist. The majority of the prints depict portraits of Catholic saints such as Anthony of Padua 1195-1231 Apollonia of Alexandria d. 249 Dorothea of Caesarea d. ca. 311 Francis of Assisi ca. 1181-1226 Francis Xavier 1506-1552 Helena of Constantinople ca. 246-330 Peter of Alcántara 1499-1562 and Rosalia of Palermo 1130-1166. A complete list of contents is available upon request.With the initials of Belgian Countess Julie Visart de Bocarmé stamped in gold on the front board and her manuscript ownerships label Julie Visart de Bocarmé Baronesse G.v.Z.v.N. mounted on the front of the slipcase. Further with the printed label of Cabasson Successeur de Terzuolo-Despilly Papetier du Roi Rue de la Chaussée dAntin No. 15 mounted on the verso of the first flyleaf of the brown album all prints and drawings have been tipped onto a white sheet of paper with a manuscript collection number at the top. The boards are slightly rubbed and scratched. The first few leaves of the purple album have been removed to make space for the collection. The prints and drawing show traces of use with some browning and occasional creasing soiling or foxing. The edges and corners of the slipcase are scuffed and the lower right corner of the paper label is torn off. Otherwise in good condition.l Cf. K. van den Bergh Bidprentjes in de Zuidelijke Nederlanden 1975; J.A.J.M. Verspaandonk Het hemels prentenboek. Devotie- en bidprentjes vanaf de 17e eeuw tot het begin van de 20e eeuw 1975. various publishers, hardcover
réf. 475291750-1850 approx A nice collection of var. prints 25x mixed. Some spotting o/w G 1750-1850 approx unknown
4to. Late 19th century three quarter calf with marbled boards. Spine gilt decorated and with title and author in gilt on title label. With 29 (of 30) beautifully hand-coloured plates of costumes. 28 pp. Collection of Swiss costumes with 29 fine engraved plates, very nicely hand-coloured. The text is in French and English. - Very nice copy. Lacking English title and one plate. Swiss costumes in full colour. Colas 2530; Hiler 742; Lipperheide 907.
Blue-grisaille watercolour and opaque white on paper (ca. 269 x 170 to 400 x 210 mm). Mounted on backing cardboard with tissue guards. Thirteen charming panoramic views showing the Tyrolean Alps and their environs: Ammergau, Tux, Stubai, Ötztal, Zillertal, and Lechtal Alps, Karwendel, Verwall and Wetterstein Mountains. Executed by the well-known publishers Eugen Felle and Ott & Ruep in Isny/Allgäu; probably the work of the painter Josef Ruep (1886-1940), since one panorama bears his signature "Rp." - Tissue guards mostly wrinkled and with tears; drawings perfectly preserved.
Royal folio. In later years mounted onto uniform backing boards by Geyling himself and laid into two simple portfolios, both of which contain his autogr. table of portraits. All leaves numbered throughout by the artist (1-24; Schnitzler's letters on their own backing are no. 23) and captioned with the name and dates of the person portrayed. The earliest portrait dates from 1897, the year in which the Vienna Secession and the artistic periodical "Ver Sacrum" were founded. According to his inscription, it was for the latter that Geyling drew the present portrait of the Secessionist sculptor Rudolf Bacher. Many of the pictures collected in these two portfolios were created several years later, in 1905, during the heyday of the Wiener Werkstätte (for which Geyling designed postcards) and a year after Geyling and his partner Otto Prutscher closed their joint studio for furnishings and décor. "Although a member of the conservative 'Künstlerhaus', Geyling always was close to the Vienna Secession" (cf. AKL LII, 462). For Geyling, "Klimt, Hoffmann, Roller, Olbrich were not only my colleagues, but also my friends, and many a night did we debate about the 'new and pure art'" (cf. Remigius Geyling erzählt, aufgezeichnet von Gerald Szyszkowitz. In: Nebehay/Krug, pp. 5-8, here: p. 7). These nights apparently offered numerous opportunities for Geyling's portrait studies: apart from the portraits of the aforesaid, the present collection contains a picture of the frequent Tivoli patron Egon Schiele (from the year of his death) as well as a portrait of Adolf Loos, drawn in the famous Café Museum. It was probably here where also Karl Kraus (entitled "Fackl-Kraus" by the artist) sat for Geyling. The great painter enjoyed an especially close relationship to Gustav Klimt: for many years he belonged to the circle of those who shared breakfast with Klimt at the Tivoli (cf. Nebehay/Krug, p. 3). In that legendary restaurant at the Green Hill in Vienna's Meidling district, he drew the two portraits of Klimt in May 1905. Together with Peter Altenberg and Otto Wagner, Klimt is one of the few persons whom Geyling sketched in more than one portrait only (all on a single page). It was upon Klimt's recommendation that Geyling was hired as head of decorations at the "Neue Wiener Bühnen" in 1910; his first production was the premiere of Schnitzler's "Undiscovered Country". It was during the rehearsals for this production, on 14 October 1911, that Geyling produced the present portrait of Schnitzler. Schnitzler's two letters to Geyling concern their joint project of a "Medardus movie". Geyling had worked as decorator for the most important Austrian film productions. So successfully had he transferred the stylistic devices of the Wiener Werkstätte into historical tragedy that in 1924 Fritz Lang used Geyling's designs for his great silent "Nibelungen" series (cf. AKL LII, 462). - Provenance: From a Viennese private collection, to which the artist himself sold both portfolios. Nos. 6-8 and 18, 21 and 22 are each illustrated in full-page size in: Ch. M. Nebehay & H. Krug (eds.). Remigius Geyling. Künstler und Literaten. Gezeichnet in Wien um 1900. Wien 1974. (= Jahresgabe der Wiener Bibliophilengesellschaft). This work does not describe the present collection; all other drawings are unpublished.
1790réf. 600281Kassel, H. V. Bender, 1790-91. 4to. Pappbände (2) u. Halbleder d. Zeit (stark beschabt u. bestoßen, Rückenbezüge teils mit Fehlstellen, Halbleder mit Feuchtigkeitsschaden u. am Rücken mehrfach eingerissen). [2 Warenabbildungen]
1713réf. 627877Tübingen, Cotta, 1713-15. 4to. 8 Bl., 1436 S.; 6 Bl., 1340 S.; 3 Bl., 1398 S., 167 Bl. Pergament d. Zeit mit schwarzgeprägtem Rückentitel (fleckig, Innengelenke teils mit Wurmspuren). [2 Warenabbildungen]
1902réf. 10383Cover only. Cover is toned with wear and soiling but very suitable for framing. 11" x 16".; Prints . 1902. unknown
1904réf. 10377Cover only. Cover is toned with a 1" tear and modest soiling but suitable for framing. 11" x 16".; Prints . 1904. unknown
1904réf. 10376Cover only. Cover is toned with chipping and light soiling in margins but very suitable for framing. 11" x 16".; Prints . 1904. unknown
1908réf. 10388Cover only. Cover is toned but clean bright and very suitable for framing. 10" x 14.5".; Prints . 1908. unknown
1904réf. 10379Cover only. Cover is toned with wear and soiling but very suitable for framing. 11" x 16".; Prints . 1904. unknown
1908réf. 10389Cover only. Cover is toned but clean bright and very suitable for framing. 10" x 14.5".; Prints . 1908. unknown
1908réf. 10387Cover only. Cover is toned but clean bright and very suitable for framing. 10" x 14.5".; Prints . 1908. unknown
1908réf. 10392Cover only. Cover is toned but clean bright and very suitable for framing. 10" x 14.5".; Prints . 1908. unknown
1904réf. 10371Cover only. Cover is toned with light soiling in margins but illustration clean and very suitable for framing. 11" x 16".; Prints . 1904. unknown
1970240 p. Illustrated in color. Light damp stain and foxing. Small 4to. 260 mm. Original cloth spine over glossy paper boards. Slightly rubbed at extremities. Original priced dust jacket, worn with small loss. Seventh printing. Very good. W102
1967réf. 170189Tokyo, Tarumi Shobo, 1967. XXVIII, 127 pp. with 237 illustrations, partly coloured. 4°, original cloth, slipcase.
