STEVENS G.-M.Livre Rare Book
10 194 résultats
1898réf. 6121Belle épreuve parue dans le numéro 9 (janvier 1898) de l’Estampe Moderne. Notre épreuve porte le timbre sec de l’Estampe Moderne en bas à droite. L’Estampe Moderne a paru de mai 1897 à avril 1899. en feuille Très bon Paris L’Estampe Moderne. 1898 24 x 35 cm.
1992réf. 0056421992 Sans lieu ni nom d'éditeur, 1992. Un feuillet double (283 X 224 mm). Infimes taches de rousseurs dans les barbes.
1968réf. PJE-2Alexander CALDER : SOLEIL ET LUNE (ou "Soleil Noir, Lune Rouge") - 1968 (62 x 88,9 cm) Lithographie en couleur, d'après la gouache originale de même format, sur papier d'édition. Signée et datée dans la planche en bas à droite, dimensions de la feuille : 62 x 88,9 cm. Tirage limitée non numérotée, signée et datée dans la planche. Épreuve originale en très bon état, de très légers plis de manipulation en marge droite. Jamais encadrée, la couleur est parfaitement préservée et le support immaculé sans jaunissement. —— ENGLISH DESCRIPTION: Alexander CALDER, "SUN and MOON", 1968 : Unsigned Lithograph. Paper size is 25 x 36.75 inches, with an image size of 24 x 32.5 inches. The lithograph is from an unknown edition size and was never framed, the color is perfectly preserved, no toning Printed by the Collector's Guild, New York, in 1968. The condition is excellent, slight marks of handling. Additional details: 1968 lithograph printed by the Collector's Guild, New York.
1968réf. 3163Alexander CALDER : SOLEIL ET LUNE (ou "Soleil Noir, Lune Rouge") - 1968 (62 x 88,9 cm) Lithographie en couleur, d'après la gouache originale de même format, sur papier d'édition. Signée et datée dans la planche en bas à droite, dimensions de la feuille : 62 x 88,9 cm. Tirage limitée non numérotée, signée et datée dans la planche. Épreuve originale en très bon état, de très légers plis de manipulation en marge droite. Jamais encadrée, la couleur est parfaitement préservée et le support immaculé sans jaunissement. —— ENGLISH DESCRIPTION: Alexander CALDER, "SUN and MOON", 1968 : Unsigned Lithograph. Paper size is 25 x 36.75 inches, with an image size of 24 x 32.5 inches. The lithograph is from an unknown edition size and was never framed, the color is perfectly preserved, no toning Printed by the Collector's Guild, New York, in 1968. The condition is excellent, slight marks of handling. Additional details: 1968 lithograph printed by the Collector's Guild, New York.
réf. 27381Chez Aubert, pass. Véro-Dodat.- LA REVUE DES PEINTRES N° 82,- 1835- Bon état, sur vélin blanc,petites rousseurs marges.- Dimensions - Oeuvre: Hauteur: 26.5cmx Largeur: 21cm- bon état.
réf. 1633245X31 cm.
réf. 7279Par l’un des plus grands techniciens de la gravure. IFF 6-2. Tirage sur fond bistre. Noms de l'imprimeur et de l'éditeur grattés. Salissures. moyen 13,5 x 20,5 cm.
1922- Lucien Vogel éditeur, Paris 1922, 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 gauche de la planche. La Gazette du bon ton, l'une des plus belles et des p
1922- Lucien Vogel éditeur, Paris 1922, 18x24cm, une feuille. - Estampe originale en couleur, tirée sur papier vergé, signée en haut à gauche de la planche. La Gazette du bon ton, l'une des plus belles et des plus influentes revues de mode du XXème siècle, célébrant le talent des créateurs et des artistes français en plein essor de l'art déco. Célèbre revue de mode fondée en 1912 par Lucien Vogel, La Gazette du bon ton a paru jusqu'en 1925 avec une interruption durant la Guerre de 1915 à 1920, pour cause de mobilisation de son rédacteur en chef. Elle se constitue de 69 livraisons tirées à seulement 2000 exemplaires et est illustrée notamment de 573 planches en couleurs et de 148 croquis représentant des modèles de grands couturiers. Dès leur parution, ces luxueuses publications « s'adressent aux bibliophiles et aux mondains esthètes » (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Imprimées sur beau papier vergé, elles utilisent une police typographique spécialement créée pour la revue par Georges Peignot, le caractère Cochin, repris en 1946 par Christian Dior. Les estampes sont réalisées grâce à la technique du pochoir métallique, rehaussées en couleurs et pour certaines soulignées à l'or ou au palladium. L'aventure commence en 1912 lorsque Lucien Vogel, homme du monde et de la mode - il a déjà participé à la revue Femina - décide de fonder avec sa femme Cosette de Brunhoff (sur de Jean, le père de Babar) la Gazette du bon ton dont le sous-titre est alors « Art, modes et frivolités ». Georges Charensol rapporte les propos du rédacteur en chef : « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). Le succès de la revue est immédiat, non seulement en France, mais aussi aux Etats-Unis et en Amérique du Sud. À l'origine, Vogel réunit donc un groupe de sept artistes : André-Édouard Marty et Pierre Brissaud, suivis de Georges Lepape et Dammicourt ; et enfin ses amis de l'École des beaux-arts que sont George Barbier, Bernard Boutet de Monvel, ou Charles Martin. D'autres talents viennent rapidement rejoindre l'équipée : 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, Charles Martin, Maggie Salcedo. Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, deviendront par la suite des figures artistiques emblématiques et recherchées. Ce sont ces mêmes illustrateurs qui réalisent les dessins des publicités de la Gazette. Les planches mettent en lumière et subliment les robes de sept créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet et Doucet. Les couturiers fournissent pour chaque numéro des modèles exclusifs. Néanmoins, certaines des illustrations ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. La Gazette du bon ton est une étape décisive dans l'histoire de la mode. Alliant l'exigence esthétique et l'unité plastique, elle réunit pour la première fois les grands talents du monde des arts, des lettres et de la mode et impose, par cette alchimie, une toute nouvelle image de la femme, élancée, indépendante et audacieuse, également portée par la nouvelle génération de couturiers Coco Chanel, Jean Patou, Marcel Rochas... Reprise en 1920 par Condé Montrose Nast, la Gazette du bon ton inspirera largement la nouvelle composition et les choix esthétiques du « petit journal mourant » que Nast avait racheté quelques années auparavant : le magazine Vogue. [ENGLISH DESCRIPTION ON DEMAND]
1922réf. 54954Lucien Vogel éditeur | Paris 1922 | 18 x 24 cm | une feuille
1922réf. 57524Lucien Vogel éditeur | Paris 1922 | 18 x 24 cm | une feuille
2015Exhibition catalog for a show held at the publisher's gallery. Book is in excellent condition, as new. Binding is solid and square, covers have sharp corners, exterior shows no blemishes, text/interior is clean and free of marking of any kind. 44 page catalog with one full size print every two pages. List of artists at back, including: Mark Berndt, Lisa Blair, Tony Bonanno, William Coupon, Dianne Duenzl, Amy Kawadler, Reno Kleen Lisa Law, Pilar Law, Eric Lawton Douglas Magnus, Carrie McCarthy, Daniel Milnor, Erwin More, etc.
Un' incisione originale a colori ripiegata, numerata e firmata di Morishita (cm 30x70,5). Opera autenticata dall'Editore Carta Alcantara della cartiera Sicars. 4to. pp.. . Perfetto (Mint). . Prima edizione di 120 es. numerati. .
1922réf. 84847Lucien Vogel éditeur | Paris 1922 | 19 x 24.50 cm | une feuille
réf. 3706Paris, Bibliothèque Nationale, 1950, 66 pp., 15,5 X 21 cm., br. Ouv. ill. 16 pl. h.t. n.b. Contient la liste des Membres, liste Artistes ayant éxécuté une planche, Les Peintres Graveurs par Ed. Georg.- Épreuves d'État par Pierre Dubreuil - les procédés de la gravure par Marcel Roche - L'Estampe des Impressionnistes par J. Adhémar.
1984réf. 11375MacOn Imp. Buguet-Comptour 1984 GRAND In-8 84 pp, figures, dessins et reproductions photographiques en noir in-texte. Intérieur frais.
réf. 48241Paris Bibliothèque Nationale 1950 in 8 (21x15,5) 1 volume broché, non paginé, avec des illustrations hors-texte en noir et blanc. Catalogue de 153 gravures exposées lors de la 36ème expostion de la Societe des Peintres Graveurs Francais, reconnue d'utilite publique. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
1910réf. 4831910 VERS 1910. ESTAMPE EN COULEURS (50 X 36,5 CENTIMETRES ENVIRON, ET 60 X 43 ENVIRON AVEC LES MARGES), SIGNEE DANS LA PLANCHE EN BAS A GAUCHE. BON ETAT.
réf. awd-735Portrait de John Cage souriant, série Hostages. Épreuve d’artiste imprimée en lithographie par Quensen GmBH en 1998. Signée, datée, justifiée et insérée dans une pochette de présentation rouge à rabat. Impression à 85 ex. avec timbre sec de l’éditeur (40/27 cm). Bon état.
2018Acquaforte elettrochimica / Electrochemical etching. L'incisione è stata realizzata presso la Kansas State University (Manhattan, Kansas) Timbro a secco dell'Artista. Firma, titolo e numerazione a matita. Esemplare p.d.a.. Cm 15x11 (Foglio 53x38). . . Ottimo (Fine). . Edizione originale di 25 es. numerati e firmati . .
1970réf. 210213036Sky Prints Corp 1970-01-01. Spiral-bound. Like New. 0x0x0. 1970-1979 and 1981 Like New inside and Out! Clean & Crisp Pages. Excellent book.Fast Shipping!11 books total Sky Prints Corp unknown
Litografia a 5 colori Firma, data e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Esemplare 42/42. cm 76x54,5. . . Molto buono (Very Good). Bruniture leggere ai margini del foglio (Some light browning and spotting). Tiratura 42. .
1864256p. + Full Page Engraved Portraits with original tissue guards. Slightly foxed. XLib. Manuscript notes on rear fly leaf. 12mo. 190 mm. Original full cloth binding embossed in blind. Corners worn. Spine faded with loss at head and tail and near title. Hardbound. Very good. Brief sketches of John Summerfield, Archibald Alexander, Nettleton, Beecher, Payson, Chalmers, Dwight, Edwards, Whitefield, Baxter, Bunyan, Massilon, et. al. RELIGION BOX 10
13 watercolours and pencil and ink drawings mounted on 60 leaves of white and brown-toned paper. Splendid red morocco binding by Alphonse Giroux of Paris with covers and spine gilt and inlaid (wanting the fore-edge lock). Small oblong folio (340 x 245 mm). Red moirée silk endpapers. All edges gilt. A magificently bound, early album containing sketches by the artistically gifted princess as well as by other artists. It was not until the year of her birth that her father Louis Philippe, the Duke of Orleans (1773-1850), who had had to leave Europe after the French Revolution and spent several years in America, returned to France, where in 1830 he accepted the crown, following the deposition of Charles X. Until the February Revolution of 1848 and his emigration to England he reigned as "King of the French". - The present album contains three unsigned portrait studies in pencil attributable to the princess, probably based on details from an old master painting (possibly a Crucifixion or Lamentation of Christ). In her youth, Clementine is known frequently to have copied details from Dürer, Michelangelo, Leonardo da Vinci, Holbein, and Titian. Two of the present studies are dated "1831", when she was but fourteen years old: among the earliest of her known works, they show off her remarkably developed talent. - Among the other drawings in the album is a watercolour still life with fowl, signed "D. Pedro 1850" and inscribed, "Offert À Son Altesse Royale Madame La Duchesse de Saxe Cobourg Gotha le 3 Juin 1851", while a similar still life is signed "D. Suid [?] fecit / 20 Set. 1850". Other drawings include four pencil sketches by the English painter and engraver William Daniell (1769-1837), who had accompanied his uncle Thomas Daniell to India in 1784 and subsequently produced a wealth of highly regarded landscapes and scenes of Indian life (including work for the famous "Oriental Scenery" volume), many of which are in the Royal collections (cf. Thieme/Becker VIII, 361f.). His signed contributions are two boating scenes (1827, one entitled "Patience in a Punt"), an Indian riverside scene (1827) entitled "The Plantane tree, Bengal", and an "Indian Bull" (1830, inked and watercoloured). Another particularly finely executed watercolour shows a beach scene at Ingouville (in Normandy), dated August 1839 and signed "L. Laurent". In addition, there are three skilled but unsigned pen-and-ink sketches, apparently also by a trained artist, showing a watchman with a shouldered musket, the Falls of Clyde in Scotland ("Chute de la Clyde / Lanarke 11 Juillet 51"), and the profile study of a lady (all but the latter washed in ink). A few torn stubs show the album to have formerly comprised several additional leaves, while the faint nature-printed impressions left by plants between two leaves prove that the album was once also used to preserve botanical mementos. - The princess grew up in the Palais Royale in Paris. In 1843 she was married to Prince August of Saxe-Coburg; in 1861 she would give birth to Prince Ferdinand of Saxe-Coburg, who in 1887 accepted the crown of Bulgaria, against the wishes of the European Powers and indeed those of the house of Coburg. Having long lived under the same roof with the similarly aged Victoria of Kent, later Queen Victoria (1819-1901), Clementine maintained a lifelong correspondence with the Queen of England, and her more than 600 letters are now in the Royal Archive in Windsor. Also the Hoover Institution at Stanford University keeps material from the estate of Princess Clementine within the so-called "Czar Ferdinand I of Bulgaria papers". Her artistic productions have remained enduringly popular: in 1990, one of her pencil drawings ("Etude des chiens") sold for 20,000 Francs (Paris, Tajan, 5 Dec. 1990, lot 23).
1890réf. 003892London: T.F. Robey 1890. Very Good. 16 black-and-white collotype views loose as issued in a light green envelope. Title from envelope. "Robey's Series" -- on envelope and on each image. Thomas F. Robey was a photographer active in London beginning in the 1890s. From about 1894 to about 1905 he was also active as a commercial photographer and printer with Eustace Curzon. They were among many photographers producing platinotypes or platinum prints around the turn of the century. "Platinogram" was the name given by Robey to these images made from platinotypes. As listed on the envelope the views are: The Tower Bridge Tower of London London Bridge Royal Exchange St. Paul's West Front Embankment Houses of Parliament Westminster Abbey Rotten Row Piccadilly Circus Albert Hall Albert Memorial Crystal Palace Trafalgar Square Ludgate Circus and the Great Wheel. There is no date of publication but the images appear to be from the 1890s. The detail in the street scenes is particularly impressive. There are no motorized vehicles in any of the scenes. Oval stationers label on front of envelope: Rowsell & Son Cheapside. In Very Good Condition: minor creasing at a few corners; loss of corners on two images; clean and bright. Envelope is in Good- Condition: separated into two sections; chipping along edges; minor loss at corners. Extremely scarce -- no other copies of these "Platinogram" views have been located. T.F. Robey unknown
