Marc CHAGALLLivre Rare Book
51 042 résultats
1967réf. 3152Paris, Tériade Éditeur, 1967. Un volume in-folio (450 x 345 mm) en feuilles sous couverture imprimée rempliée, chemise titrée or et étui de l'éditeur recouverts de toile écrue. - 38 LITHOGRAPHIES ORIGINALES DE MARC CHAGALL : 15 EN COULEURS DONT 3 À DOUBLE PAGE (450 x 687 mm) ET 18 EN NOIR. Toutes les lithographies sont en hors-texte et ont été tirées sur les presses de Fernand Mourlot. Tirage : 250 exemplaires + 20 exemplaires HC. Celui-ci est un exemplaire de collaborateur, il n'est donc ni numéroté ni signé. - Note historique et bibliophilique : Le sujet du cirque est l’un des thèmes les plus importants dans l’œuvre de Marc Chagall. Cette fascination remonte à l'enfance, quand il vit à Vitebsk une petite troupe itinérante exécuter quelques acrobaties maladroites devant un public indifférent : cette triste performance était-elle le destin de toute vie d’artiste ? C’est Ambroise Vollard, lui-même très amateur de cirque, qui incita Chagall à développer ce thème, mais c’est Tériade, qui après la mort de Vollard, le convainquit de travailler à un livre illustré de lithographies. Accompagné de textes de l’artiste, CIRQUE est certainement la meilleure réalisation lithographique de Chagall avec Daphnis & Chloé paru en 1961 chez le même éditeur, "sans aucun doute le plus personnel de tous ses livres, le plus exceptionnel aussi par l'intensité du trait et des couleurs, mais aussi par l'harmonie qu'il crée entre texte et peinture, enfin par le caractère même et la qualité de l'écriture" (Hommage à Tériade, Grand Palais, 1973). - ENGLISH DESCRIPTION: MARC CHAGALL (1887-1985) : CIRQUE, Tériade Editeur, Paris, 1967 (book/ portfolio). The complete set of 38 lithographs (23 lithographs in colors and 15 lithographs in black), on Arches paper, all hors-texte, title page, text in French and justification. This copy on Arches paper, from a collaborateur, it is not numbered and not signed, of the 270. The colors fresh, the full sheets, loose (as issued), in mint condition, within original paper wrapper, beige cloth-covered boards with title stamped in gilt on spine and matching slipcase 17 3/4 x 13 1/2 in. (450 x 345 mm.) References: Mourlot 490-527; Cramer books 68.
1743réf. 37021743. Woodcut royal arms on title. 1 p.l. 34 pp. Small folio cont. French red morocco panelled in gilt in the style of the “cabinet du Roi” gilt arms & ciphers Olivier 2495 fer 2 on covers with ciphers on spine a.e.g. Paris: de l’Imprimerie Royale 1743. First edition and very uncommon. This catalogue the splendid Han Fürstenberg — Otto Schäfer — Jacques Bemberg copy lists the plates made of the collections of the king including paintings medals royal chateaux fountains grottoes statues busts tapestries and jewels along with records of festivals entrances battles etc. etc. “Colbert understanding that engraving was the best means to disseminate and preserve knowledge of the undertakings of Louis XlV began to assemble a group of outstanding engravers. By 1660 they had achieved the stature of independent artists and by 1670 had become a special group under the protection of the king joined together at the Gobelins around Charles Le Brun and Sebastien Le Clerc. From 1660 André Félibien was charged with providing descriptions of maisons royales and Adam Van der Meulen and Israel Silvestre were sent to the newly conquered territories to make views of the principal chateaus and fortresses. Other commissions for the Cabinet du Roi included engravings by Chauveau of the king’s paintings at the Tuileries; copies of paintings and sculpture by Claude Mellan Rousselet and Audran in the galleries of the king; copies by Ronelet of the king’s collection of medals; and other works of art and architecture by Rousselet Silvestre Chauveau and Le Clerc. At the same time the Académie des Sciences began scholarly works commissioned by Colbert…Illustrators for these works were Abraham Bosse Sebastien Le Clerc who often made engravings for Claude Perrault Nicolas Bailly and L. de Châtillon… “From 1670 Colbert determined to join these engravings in a collection. He proposed that at the end of each year a temporary volume would be composed of all types of works with the text printed in French and Latin. At the end of ten or twelve years the collection would be subdivided by topics so that the king would have volumes separated into all the sciences and achievements of his reign… “A complete record of the king’s possessions was never achieved but the plan was continued by his successors. The engravings from the Cabinet du Roi were first published in a variety of sizes and separately. They were then collected into volumes according to Colbert’s plan but sporadically. In 1727 a new edition was published with additional plates and a catalogue. A third edition of twenty-three volumes with further additions and an index was issued in 1743. Later sets were formed with plates from various editions. The plates survive to the present day at the Chalcographie du Louvre.”–Millard French Books 46. This catalogue was issued as a guide to the contents of the fifty sets of 956 plates of the 1743 edition which were prepared as gifts see Balayé La Bibliothèque Nationale des origines à 1800 pp. 226-27. Fine copy. unknown
1743réf. 37021743. Woodcut royal arms on title. 1 p.l. 34 pp. Small folio cont. French red morocco panelled in gilt in the style of the “cabinet du Roi” gilt arms & ciphers Olivier 2495 fer 2 on covers with ciphers on spine a.e.g. Paris: de l’Imprimerie Royale 1743. First edition and very uncommon. This catalogue the splendid Han Fürstenberg — Otto Schäfer — Jacques Bemberg copy lists the plates made of the collections of the king including paintings medals royal chateaux fountains grottoes statues busts tapestries and jewels along with records of festivals entrances battles etc. etc. “Colbert understanding that engraving was the best means to disseminate and preserve knowledge of the undertakings of Louis XlV began to assemble a group of outstanding engravers. By 1660 they had achieved the stature of independent artists and by 1670 had become a special group under the protection of the king joined together at the Gobelins around Charles Le Brun and Sebastien Le Clerc. From 1660 André Félibien was charged with providing descriptions of maisons royales and Adam Van der Meulen and Israel Silvestre were sent to the newly conquered territories to make views of the principal chateaus and fortresses. Other commissions for the Cabinet du Roi included engravings by Chauveau of the king’s paintings at the Tuileries; copies of paintings and sculpture by Claude Mellan Rousselet and Audran in the galleries of the king; copies by Ronelet of the king’s collection of medals; and other works of art and architecture by Rousselet Silvestre Chauveau and Le Clerc. At the same time the Académie des Sciences began scholarly works commissioned by Colbert…Illustrators for these works were Abraham Bosse Sebastien Le Clerc who often made engravings for Claude Perrault Nicolas Bailly and L. de Châtillon… “From 1670 Colbert determined to join these engravings in a collection. He proposed that at the end of each year a temporary volume would be composed of all types of works with the text printed in French and Latin. At the end of ten or twelve years the collection would be subdivided by topics so that the king would have volumes separated into all the sciences and achievements of his reign… “A complete record of the king’s possessions was never achieved but the plan was continued by his successors. The engravings from the Cabinet du Roi were first published in a variety of sizes and separately. They were then collected into volumes according to Colbert’s plan but sporadically. In 1727 a new edition was published with additional plates and a catalogue. A third edition of twenty-three volumes with further additions and an index was issued in 1743. Later sets were formed with plates from various editions. The plates survive to the present day at the Chalcographie du Louvre.”–Millard French Books 46. This catalogue was issued as a guide to the contents of the fifty sets of 956 plates of the 1743 edition which were prepared as gifts see Balayé La Bibliothèque Nationale des origines à 1800 pp. 226-27. Fine copy. unknown books
1950réf. 3041[Paris, J. Dubuffet], 1950. 1 volume in-4 (28( x 22( mm), 36 pages + feuillets muets cousus d'un fil, le premier plat de la couverture rempliée portant le titre. - Édition originale du troisième livre de l'Art Brut entièrement réalisé par Jean Dubuffet. - Le texte autographe très provocateur, "porno-graphique", est calligraphié à l'encre lithographique sur papier report, il est orné de 6 ILLUSTRATIONS À PLEINE PAGE REPORTÉES SUR PIERRE LITHOGRAPHIQUE. L'ensemble du livre est tiré en lithographie. Ce texte en jargon phonétique et le style des illustrations montrent le souci de l'artiste d'un art en opposition avec les normes des syntaxes habituelles. Comme « Ler dla canpane » (1948) et « An vou a ia je » (1949), l'ouvrage est une forme de manifeste d'un art non culturel que Dubuffet nommait "Art Brut". Mariant l'écriture phonétique et argotique au dessin de graffitis obscènes, Dubuffet a réalisé un saisissant raccourci plastique et poétique, renvoyant autant aux peintures rupestres qu'à l'art "brut" des fous ou des prisonniers, tout en produisant un livre de la plus haute bibliophilie érotique. - Ce livre témoigne avec force du besoin de transgression des codes que ce genre implique et reflète bien l'œuvre de Dubuffet, synonyme de rejet et de subversion de toutes les valeurs esthétiques reconnues. - Tirage à 50 exemplaires sur papier d'Indochine sans numérotation (Étant donné la rareté de cet ouvrage, il est probable que le tirage fut moindre d'après plusieurs avis autorisés). - TRÈS BEL ENVOI DE JEAN DUBUFFET À MARCEL PÉJU DATÉ DU 14 JANVIER 1954 ET SIGNÉ (5 lignes à l'encre), «en souvenir et en l'honneur de notre longue et agréable conversation...» - Belle provenance : Collection Marcel Péju (18922-2005). Journaliste et intellectuel français, secrétaire général de la revue Les Temps Modernes de 1953 à 1962, puis par descendance acquis récemment de cette source.
réf. LCS-18628Bel exemplaire, complet, finement relié par Cuzin. Paris, Jehan Dallier, 1549. [Suivi de]: C’est l’ordre et forme qui a este tenue au Sacre & Couronnement de treshaulte & tres illustre Dame, Madame Catharine de Medicis, Royne de France, faict en l’Eglise Monseigneur sainct Denys en France, le X. jour de juin. Paris, Jehan Dallier, 1549. Soit 2 ouvrages reliés en 1 volume in-4 de: I/ 41 ff. (mal numéroté 37) et (1) f.bl. entre les ff. 28 et 29, 9 gravures à pleine page dans le texte dont 1 dépliante et 2 gravures hors texte dont 1 dépliante, (1) f.bl.; II/ 11 ff. Cachet de bibliothèque sur le f. de titre. Relié en plein maroquin rouge janséniste, dos à nerfs, double filet doré sur les coupes, large roulette intérieure dorée, tranches dorées sur marbrures. Reliure signée Cuzin. 225 x 155 mm.
réf. 111755Paris Arthus Bertrand 1841. . First edition; 2 vols in 1 large folio 57 x 38 cm; 133 1-132 & 25bis engraved or tinted lithographed plates light toning to text creases to blank margins pp. 49-54 short marginal repair p. 5 light toning to approx. 54 plates occasional light foxing elsewhere; contemporary green morocco gilt rebacked preserving spine a good copy. Paris' comprehensive survey of sailing vessels including 8 important plates of Muscat and Oman and 32 plates of India and Ceylon. François-Edmond Pâris 18061893 was a French admiral who accompanied some of the great French voyages of the nineteenth century. He made important contributions to naval engineering during the rise of the steam and was instrumental in the establishment of the Musée national de la Marine. The attractive plates include tinted lithographed plates of ships at sea against local backgrounds many in full sail. In the 1830s Oman was economically prospering with its consolidation of control over Zanzibar and coastline of Eastern Africa from Somalia to Mozambique and having made the first trade agreement of any Arab nation with the USA in 1833. The 8 plates showing Dungiyahs Gareokuh Bedens and Baggalas of Muscat and Oman capture Oman at the peak of its naval powers: after the death of Said bin Sultan in 1856 the Sultanates of Oman and Zanzibar were split and their naval technology was outstripped by Western nations just as the abolition of slavery took a hit to the Omani economy. The India plates are similarly important in the coastlines and ships they depict. There are 20 plates which cover the Malabar coast 9 covering the Coromandel coastline and Ceylon and 13 covering the coastline of Bengal. The vessels of specific cities and regions are also depicted including Bombay Goa Calicut the Ganges and the Hooghly. There are also many plates on the Far East South-East Asia and the Pacific islands including the Philippines 7 plates China 17 and Malaysia and Java 40. The present illustrations are the result of sketches made by Paris on three expeditions: the famous circumnavigation of the Astrolabe under Jules d'Urville Durmont 1790-1842 from 1826 to 1829; the scientific expedition around the world aboard the Favorite under Captain Laplace 1793-1875 from 1829 to 1832; and again under Laplace on board the Artémise for a third exploration cruise from 1837 until 1840 when he was appointed commander. Brunet IV 371; Sabin 58593. Paris, Arthus Bertrand, 1841. unknown
1500réf. 627This magnificent historiated initial R depicting the Resurrection of Christ is among the finest surviving remnants of a monumental illuminated gradual produced in Paris during the opening decade of the sixteenth century for the celebrated Abbey of Saint-Victor. Painted on an imposing scale for use upon the choir lectern the initial introduced the Introit for the Mass of Easter Sunday Resurrexi et adhuc tecum sum "I have risen and I am still with you" one of the most important chants of the entire liturgical year. Within the initial Christ rises triumphantly from the open sarcophagus his right hand raised in blessing as he steps forward in serene majesty. The artist contrasts Christ's calm monumental presence with the animated reactions of the Roman soldiers below who lie asleep. In the background the Three Marys approach the tomb. Mary Magdalene is distinguished by her ointment jar while beyond them Jerusalem rises. The composition masterfully compresses moments of the Resurrection narrative into a single unified image. The lower margin displays the arms of the Abbey of Saint-Victor supported by two graceful angels. Blazoned azure with eight fleur-de-lys scepters these distinctive arms firmly identify the manuscript's original owner. Founded in 1113 the Abbey of Saint-Victor became one of the most renowned Augustinian houses of medieval Europe. It was celebrated equally for its theological school distinguished scholars and remarkable library. Although a portion of its medieval library survives today in the Bibliothèque nationale de France and the Bibliothèque Mazarine the great Renaissance liturgical choirbooks commissioned for its choir were largely dispersed or destroyed. The illumination of the present Gradual is attributable to the Master of Philippe de Gueldres one of the leading illuminators active in Paris during the beginning of the sixteenth century. The artist takes his modern name from his work in the Vie de Christ a French translation of Ludolph of Saxony's Vita Christi made in 1506 for Philippe Philippa de Gueldres 1464–1547 Duchess of Lorraine Lyon Bibliothèque municipale MS 5125. First distinguished as an independent artistic personality by John Plummer the Master was once associated with Bourges because of stylistic affinities with the work of Jean Colombe and subsequently with Rouen. François Avril and Nicole Reynaud situate his mature career firmly in Paris where he collaborated with other Parisian illuminators including Jean Pichore and supplied illustrations for deluxe books produced by the celebrated publisher Antoine Vérard. His patrons belonged to the highest circles of French court and ecclesiastical society and included in addition to the Duchess of Lorraine King Louis XII and Cardinal Georges d'Amboise. Among his most important liturgical commissions were the monumental Graduals made for Louis XII and Anne of Brittany for the Sainte-Chapelle in Paris. These choirbooks were subsequently dismantled and dispersed a fate strikingly similar to that of the Saint-Victor Gradual from which the present miniature derives. Of particular importance is the Master's continuing relationship with the Abbey of Saint-Victor itself. The Gradual was not his only commission for this important Parisian Augustinian house. An illuminated Missal made for Saint-Victor now Paris BnF MS lat. 14818 is likewise attributed to the Master providing further evidence of his association with the abbey. Another richly illuminated Missal from Saint-Victor BnF MS lat. 14448 belongs to the same broader milieu of Parisian illumination and merits comparison with the work of the Master and his contemporary Jean Pichore. BnF MS lat. 14448 prominently incorporates the arms of the abbey supported by two kneeling angels providing particularly striking visual testimony to its institutional provenance and a close parallel for the same heraldic device preserved beneath the present Resurrection fragment. Taken together these manuscripts and the dispersed Gradual attest to the rich tradition of illuminated liturgical book production at Saint-Victor and provide compelling evidence for the Master's sustained relationship with the abbey around the turn of the sixteenth century. At least six historiated initials can presently be associated with the dispersed Saint-Victor Gradual. A group of four fragments appeared together in the sale of the collection of renowned bibliophile Ambroise Firmin-Didot in Paris in 1884 lot 73: the Presentation in the Temple the Resurrection the present miniature the Trinity and Saint Michael Slaying the Dragon. The Trinity reappeared with Les Enluminures Catalogue 9 no. 34. A fifth initial depicting Saint Victor was sold at Sotheby's London 23 June 1992 lot 25. A sixth fragment depicting the Last Supper appeared at Christie's London 15 November 2006 lot 9 and may likewise have formed part of the same monumental choirbook. Other important manuscripts attributed to the Master include a Book of Hours now at the Huntington Library HM 1101 as well as manuscripts in Paris BnF MSS fr. 54 702 and 2678–2679 and Vienna ÖNB Cod. 2565 and Cod. 2582. His oeuvre encompasses both secular and devotional manuscripts although much of his surviving work is found in secular commissions for courtly and aristocratic patrons. Provenance: 1. Abbey of Saint-Victor Paris. 2. Collection of Ambroise Firmin-Didot 1790–1876. 3. Paris Hôtel Drouot Collection Ambroise Firmin-Didot 10–14 June 1884 lot 73. 4. France Private Collection 5. Published: Les Enluminures Chicago and Paris published in Catalog 8: Symbolism and the Medieval World # 33 1999 6. Published: Les Enluminures Chicago and Paris published in Catalog 15 France 1500: The Pictorial Arts at the Dawn of the Renaissance # 2010 7. USA Private Collection Literature: Avril François and Nicole Reynaud. Les manuscrits à peintures en France 1440–1520. Paris 1993 pp. 278–281. Plummer John. The Last Flowering: French Painting in Manuscripts 1420–1530. New York 1982 pp. 69–71. Victor Leroquais Les sacramentaires et les missels manuscrits des bibliothèques publiques de France 3 vols. Paris 1924 vol. III. pp. 222-223 Ambroise Firmin-Didot Catalogue illustré des livres précieux manuscrits et imprimés faisant partie de la bibliothèque de M. Ambroise Firmin-Didot Paris Hôtel Drouot 10–14 June 1884 lot 73 p. 57. Illuminated Miniature on parchment
1886réf. 41580Paris, , 1886-1932. 224 photographies glissées sous pochettes transparentes dans une boîte classeur grand in-4 (31 x 35 cm) de 65 feuilles, feuillets noirs intercalés, demi-maroquin brun, dos lisse orné et titré (Elbel libro).
réf. LCS-18369Ouvrage édité à l’occasion du mariage de Madame Elisabeth de France avec l’Infant d’Espagne. Paris, Le Mercier, 1740. Grand in-folio de (1) f.bl., (1) f. de titre, 22 pp., (1) f.bl. et 13 gravures dont 8 sur double-page. Plein maroquin rouge, plats ornés d’une roulette fleurdelysée avec fleurs-de-lys aux angles, grandes armes au centre, dos à nerfs orné de fleurs-de-lys et d’étoiles dans les caissons, pièce de titre de maroquin havane, coupes décorées, roulette intérieure dorée, tranches dorées. Reliure de l’époque. 625 x 480 mm.
réf. BIBLIO-LIVE-4-12Paris Denis du Pré 1572. 4to 235 x 157 mm of 53 ll. 1 9 full-page engravings in the text and one folding engraving out of pagination ; 10 ll. 26 2 ll. including 1 bl. 9 2 bl.ll. 6 full-page engravings in the text. Handwritten manuscript on the title. Bound in full granite-like calf blind-stamped fillet on the covers spine ribbed and decorated mottled edges. Old restorations on the spine. Early 18th century binding. First edition of one of the most beautiful entries of the French Renaissance containing several plays by Ronsard Antoine de Baïf Amadis Jamyn Jean Dorat Du Faur de Pibrac Pasquier. in first edition. Mortimer French 205-206; Rahir Dutuit 676; Picot Rothschild 3117; Brunet II 1001; Pichon 4897; Fairfax Murray French 152. One of the beautiful French celebration books of the 16th century recounting the coronation of Queen Elisabeth of Austria wife of Charles ix and daughter of the Emperor Maximilian ii which took place in the Abbey of Saint Denis as well as the entry of the sovereigns in the capital. The work was written by the Parisian municipal magistrate Simine Bouquet who was charged by his colleagues at the city hall to organize the celebration and to coordinate the order of the decors; he had entrusted Ronsard and Dorat with the direction they decided the theme: the happy meeting between France and Germany. These two poets called in Germain Pilon for the sculptures in Le Contefor the carpentry's works and for the perspectives and the paintings in Pierre d'Angers andin Nicolo dell'Abbate the famous emulator of Fontainebleau'sPrimaticcio. The edition encloses 16 full-page woodcuts including 1 folding plate made by the precious stones cutter and engraver Olivier Codoré abbreviated name according to Mariette of the valet and semi-precious stones engraver of the future Henry IV nicknamed Coldoré because of the abundance of necklaces he exhibited with pleasure. The illustration depicts the ephemeral architectures triumphal arcs ivy and leaves cradles fountains…put on the royal cortege's way. It is interesting as it is itself "transformable". These ceremonies had been delayed for about ten years Charles IX being able to make his solemn entry in the capital only thanks to the recent Saint Germain peace conclusion on August 11th 1570 which put a temporary end to ten years of religious wars. "The king's entry is illustrated with 10 figures including 9 that measure 200 x 140; the tenth bigger 208 x 212 depicts the perspective of the painting put place du Chatelet. These woodcuts offer similarities with those of the Entry of Henry II. The Entry of the Queen is illustrated with 6 woodcuts made each of two parts: the lower part is the exact reproduction of the corresponding figure of the King's entry; the upper part alone was re-engraved with different characters. The Queen having arrived 23 days after the king we had to keep the same decors and replace the allegories and inscriptions with other ones more suitable. All this decoration would be by Codoré as it is hinted in the privilege. According to Mariette Codoré would be the nickname of Fontenay Henry IV's semi-precious stones engraver." Brun Le Livre français illustré de la Renaissance p. 181. The volume encloses a mention of first state: the word"vouloir" l.34 v° wasn't added to line 7. Brunet II 1001 mentions "On some copies the page 'Simon Bouquet' is followed by a play in verse signed E. Pasquier Parisien entitled 'Au Roy Congratulation de la paix faicte par sa Majesté entre ses sujets l'onzieme jour d'Aoust 1570' 9 leaves". Our copy is one of the very few to include this play in verse by Pasquier. The Queen being ill another celebration was held for her three weeks later. The same temporary architectures were used but they were decorated with new allegorical figures. A precious wide-margined and unwashed copy preserved in its 18th century binding. Copies in ancient binding are rare most of them having been rebound –and washed at the same time– at the end of the 19th century. FR Paris Denis du Pré 1572. In-4 de 53 ff. 1 9 gravures à pleine page dans le texte et une gravure dépliante hors texte ; 10 ff. 26 2 ff. dont 1 bl. 9 2 ff.bl. 6 gravures à pleine page dans le texte. Ex libris manuscrit sur le titre. Relié en plein veau brun granité filet à froid encadrant les plats dos à nerfs orné coupes décorées tranches mouchetées. Restaurations anciennes au dos. Reliure du début du XVIIIe siècle. 235 x 157 mm. Edition originale de l'une des plus belles entrées de la Renaissance française contenant plusieurs dizaines de pièces deRonsard Antoine de Baïf Amadis Jamyn Jean Dorat Du Faur de Pibrac Pasquier. en édition originale. MortimerFrench 205-206 ; Rahir Dutuit 676 ; Picot Rothschild 3117 ; Brunet II 1001; Pichon 4897; Fairfax Murray French 152. Un des beaux livres de fêtes français du XVIe siècle relatant le couronnement de la reine Elisabeth d'Autriche épouse de Charles IX et fille de l'Empereur Maximilien II qui avait eu lieu à l'abbaye de Saint-Denis ainsi que l'entrée des souverains dans la capitale. L'ouvrage est dû à l'échevin parisien Simon Bouquetque ses collègues de l'Hôtel de Ville avaient chargé d'ordonner la fête et de diriger l'agencement des décors ; celui-ci en avait confié la mise en scène à Ronsard et à Dorat qui en fixèrent le thème : l'heureuse rencontre de la France et de la Germanie. Ce sont ces deux poètes qui firent appel à Germain Pilon pour les sculptures à Le Conte pour les travaux de charpenterie et pour les perspectives et les peintures à Pierre d'Angers et à Nicolo dell'Abbate le célèbre émule du Primatice à Fontainebleau. L'édition comporte 16 planches sur bois à pleine page dont une dépliante dues au tailleur et graveur en pierres précieuses Olivier Codoré nom abrégé selon Mariette du valet de chambre et graveur en pierres fines du futur Henri IV surnommé Coldoré à cause de l'abondance de colliers qu'il exhibait volontiers. L'illustration figure les architectures éphémères arcs triomphaux berceaux de lierre et de feuillage fontaines. dressés sur le chemin du cortège royal.Elle présente l'intérêt d'être elle-même " à transformations ". Ces cérémonies avaient été retardées pendant une dizaine d'années Charles IX ne pouvant faire son entrée solennelle dans la capitale que grâce à la récente conclusion de la paix de Saint-Germain le 11 août 1570 qui mettait un terme provisoire à une décennie de guerres de religion. " L'entrée du roi est ornée de 10 figures dont 9 mesurent 200 x 140 ; la dizième plus grande 208 x 212 représente la perspective de la peinture dressée place du Chatelet. Ces bois offrent des similitudes avec ceux de l'Entrée de Henri II. L'Entrée de la reine est ornée de 6 bois formés chacun de deux parties : la partie inférieure est la reproduction exacte de la figure correspondantes de l'entrée du roi ; la partie supérieure seule a été regravée avec des sujets différents. La reine ayant fait son entrée 23 jours après celle du roi on avait dû conserver les mêmes décors et remplacer les allégories et inscriptions par d'autres mieux appropriées. Toute cette décoration serait de Codoré ainsi que le laisse entendre le privilège. Selon Mariette Codoré serait le surnom de Fontenay graveur en pierres fines de Henri IV. " Brun Le Livre français illustré de la Renaissance p. 181. Le volume comporte une remarque de premier tirage : le mot " vouloir " au f.34 v° n'a pas été ajouté à la ligne 7. Brunet II 1001 mentionne " A quelques exemplaires la page 'Simon Bouquet' est suivie d'une pièce en vers signée E. Pasquier Parisien intitulée 'Au Roy Congratulation de la paix faicte par sa Majesté entre ses sujets l'onzieme jour d'Aoust 1570' 9 feuillets " Notre exemplaire est l'un des très rares à posséder cette pièce en vers de Pasquier. La reine étant souffrante une autre fête fut organisée en son honneur trois semaines plus tard. Les mêmes architectures éphémères furent employées mais on les décora de nouvelles figures allégoriques. Précieux exemplaire grand de marges et non lavé conservé dans sa reliure du XVIIIe siècle. Les exemplaires en reliure ancienne sont rares la plupart ayant été reliés à nouveau - et lavés par la même occasion – à la fin du XIXe siècle. hardcover
réf. LCS-15649Précieux exemplaire, l’un des rares contenant la pièce en vers de 9 feuillets d’Etienne Pasquier. Paris, Denis du Pré, 1572.In-4 de 53 ff., (1), 9 gravures à pleine page dans le texte et une gravure dépliante hors texte ; 10 ff., 26, (2) ff. dont 1 bl., 9, (2) ff.bl., 6 gravures à pleine page dans le texte. Ex libris manuscrit sur le titre. Relié en plein veau brun granité, filet à froid encadrant les plats, dos à nerfs orné, coupes décorées, tranches mouchetées. Restaurations anciennes au dos. Reliure du début du XVIIIe siècle. 235 x 157 mm.
1617réf. LBW-982[Amsterdam, 1617]. En quatre feuilles jointes de 590 x 2240 mm ; encadré sous verre.
réf. LCS-18198L’Almanach du Commerce pour l’année 1812 relié en maroquin rouge de l’époque aux armes de l’Empereur Napoléon Ier. Paris, chez J. de la Tynna, Propriétaire-Rédacteur, rue J. J. Rousseau, n° 20. In-8 de 1039 pp. Plein maroquin rouge, encadrement de filets et roulette dorés autour des plats, armoiries de l’Empereur Napoléon Ier au centre des plats, dos lisse richement orné, coupes décorées, doublures et gardes de tabis bleu, tranches dorées. Reliure armoriée de l’époque. 211 x 129 mm.
réf. 222338S.l. [Paris], 1789 in-folio (41 x 31 cm), 7 planches gravées et aquarellées, portant généralement la signature H. f. [Hoffmann fecit] et la date de 1789, en feuilles dans double emboîtage de maroquin cerise à long grain à coins, dos lisse (Honnelaître).
1654réf. B66141654. small lower marginal tears at B1 2 and N2; some contemporary ink under linings; wide margin paper. Overall this rare work is in very good condition. . Binding: Contemporary full crushed brown morocco spine raised with six 6 bands; worn gilt title on two; compartments faded; all edges speckled red and green. Notes: Rare. Second augmented after the first edition published earlier the same year 1654. Text in Latin. Place printer or publisher are unidentified; printer’s device of: Troyes: Nicolas I Oudot’s heirs printer; Three parts in one volume. This is a rare edition of this early French astrological work printed the same year as its first edition. Some of the text especially relating to predictions was regarded exceedingly offensive immediately condemned leading to contents either to be removed or whole copies burned; the present second edition was published without the contentious contents i.e. volvelles making predictions about Islam its future development Christianity and England France and Spain; five 5 volvelles remain in this edition relating to Henry IV of France and constellations of the heavens at the time of creation. Sotheby’s states: "The first two parts are attributed on their title-pages to a Francisci Alleius and comprise an explication of his 'new method of astrology' and comments and observations on 'the fate of the universe. ' The third part is a commentary on the preceding two sections by the Capuchin Yves de Paris who is presumed to be the true author of the entire work. Expurgated editions themselves very rare were printed in Paris in 1654-56 and Rennes in 1658." While the contents give no indication of the publisher printer or place the printer’s device of Nicolas Oudot Troyes founder of the Bibliothèque bleue is engraved on the first title. Caillet III 11557. Thorndike VIII 310ff. Peignot Dictionnaire des livres condamnés au feu II 204f. Size: Folio 343x215mm. Illustration: Two illustrated titles with woodcut engraved printer’s devices the first depicting a flower filled basket the second a fruit filled bowl; woodcut engraved floral initials and head pieces at openings; moreover five astrological figures; of these twelve 12 are moveable parts and five 5 fixed; of the five three have retained their threaded marker. Provenance: Armorial bookplate on upper pasted endpaper. References: Brunet I 185; Caillet III 11557; Dorbon Bib. Estoterica 61; Houzeau and Lancaster 5217. Thorndike VIII 310ff. Peignot Dictionnaire des livres condamnés au feu II 204f. Pages: Ll: bl. vol I: 2 pp.12; vol II: pp.57 p.1; vol III: pp. 26; bl. Collation: e1-2 A1-C2; A1-N2 O1-3; A1-F2 G1; bl. with watermark Category: Book Religious Christianity; Book Europe France; Book Science & Technology; unknown
1816réf. 1435761816. PARIS. Graphic Illustrations of the Most Prominent Features of the French Capital; with Characteristic Figures in the Foregrounds comprised in Twelve Stroke Engravings From Accurate Designs Taken in Paris during the Imperial Reign of Buonaparte. With Descriptive Notices and Interesting Anecdotes. 26 pp. illustrated with 12 double-page engravings. Folio 430 x 380 mm. bound in contemporary French three-quarter black morocco over marbled boards gilt title and floral vignettes on spine paper label with ms. number "20" on front cover and spine. London: Harper and Co. 1816. A fine copy of this extremely rare collection of views of Paris consisting of twelve artistically conceived views of Paris engraved by English artists. The large double-page engravings incorporate local Parisians participating in daily routines within the setting of each view. Panoramic views include: the Military School and the Church of the Invalides; View of Paris from the South Boulevard; View of Paris from Montmartre; South View of the Old and New Louvre; The Mint and The Façade of the Louvre; View of La Place de la Concorde; The Garden of the West Front of the Tuileries; Palace of the Tuileries Facing La Place du Carrousel; Garden of the Tuileries; The Luxembourg or Palais du Senat with the Gardens; The Elysian Fields Distant Gardens of the Tuileries; Entrance to Les Champs Élysées and La Place de la Concorde. Each plate is followed by two pages of text giving historical details and anecdotes about the site illustrated. Minor wear to outer edges of binding plates and text clean. Rare: OCLC lists 6 copies worldwide of which only one is held in America Bowdoin College. hardcover
1816réf. 1435761816. PARIS. Graphic Illustrations of the Most Prominent Features of the French Capital; with Characteristic Figures in the Foregrounds comprised in Twelve Stroke Engravings From Accurate Designs Taken in Paris during the Imperial Reign of Buonaparte. With Descriptive Notices and Interesting Anecdotes. 26 pp. illustrated with 12 double-page engravings. Folio 430 x 380 mm. bound in contemporary French three-quarter black morocco over marbled boards gilt title and floral vignettes on spine paper label with ms. number "20" on front cover and spine. London: Harper and Co. 1816. A fine copy of this extremely rare collection of views of Paris consisting of twelve artistically conceived views of Paris engraved by English artists. The large double-page engravings incorporate local Parisians participating in daily routines within the setting of each view. Panoramic views include: the Military School and the Church of the Invalides; View of Paris from the South Boulevard; View of Paris from Montmartre; South View of the Old and New Louvre; The Mint and The Façade of the Louvre; View of La Place de la Concorde; The Garden of the West Front of the Tuileries; Palace of the Tuileries Facing La Place du Carrousel; Garden of the Tuileries; The Luxembourg or Palais du Senat with the Gardens; The Elysian Fields Distant Gardens of the Tuileries; Entrance to Les Champs Élysées and La Place de la Concorde. Each plate is followed by two pages of text giving historical details and anecdotes about the site illustrated. Minor wear to outer edges of binding plates and text clean. Rare: OCLC lists 6 copies worldwide of which only one is held in America Bowdoin College. hardcover books
1475réf. 11955Augsburg: Günther Zainer 1475. 19th-century gilt-ruled speckled calf J. Mackenzie; rubbed spine and red morocco label gilt crown neatly repaired red edges. Editio Princeps of the first printed work of William of Auvergne c. 1180-1249 originally composed 1228-30 as part of his encyclopedic Magisterium divinale. In his youth William read widely in books of judicial astronomy magic and sorcery. HE WAS A FORERUNNER OF ROGER BACON AND ALBERTUS MAGNUS and "one of the first wave of thinkers in the Latin West to engage with the writings on natural philosophy and metaphysics by Greek Islamic and Jewish thinkers that had recently become available in Latin translations" Lewis et al. With these newly recovered works on the occult sciences he framed "a new philosophical vision of magic as applied knowledge" rather than demonic activity Hansen. He examines superstitions associated with i.a. the stars the elements images words names seasons new undertakings the finding of objects dreams alchemy gemstones minerals metals and seeing the future in children's fingernails. In good condition bookplate of the Bibliotheca Philosophica Hermetica. ¶Sarton Introduction to the History of Science II: 219; Lewis & Fischer "William of Auvergne" in The Stanford Encyclopedia of Philosophy Spring 2023 edd. Zalta & Nodelman online; Hansen "Bookish Magic" in Dictionary of the Middle Ages 8: 37; Quentin Naturkenntnisse und Naturanschauungen bei Wilhelm von Auvergne 19-21 & 58-60; ISTC ig00711000; Goff G-711. Günther Zainer unknown
1945Un des 700 exemplaires numérotés (n° 312 imprimé pour Henri de S...), préface de Maurice Garçon, 1 vol. in-folio en feuilles sous emboîtage éditeur rigide, Ateliers d'Impressions et de Cartonnages d'Art, s.d. [ 1945 ], 3 ff. et 20 planches en héliogravure Remarquable exemplaire, dans un étui certes très usagé, mais enrichi d'un bel envoi de la photographe Laure Albin-Guillot ("avec les sentiments admiratifs et infiniment reconnaissants de Laure Albin-Guillot, 26 janvier 1946") et surtout dont chacune des 20 héliogravures a été signée au crayon par la photographe (et numérotée, de 1 à 20) ! Nos recherches ne nous ont pas permis de découvrir d'exemplaire comparable, les planches n'étant habituellement pas signées par l'artiste. Etui fort. usagé avec manques, rouss. au premier ff., les héliogravures sont en très bon état. - A very scarce copy, enriched with a beautiful handwritten dedication by the famous photographer Laure Albin-Guillot ("avec les sentiments admiratifs et infiniment reconnaissants de Laure Albin-Guillot, 26 janvier 1946" [ "with the admiring and infinitely grateful feelings of Laure Albin-Guillot, January 26th, 1946" ] ) ; Most importantly, it must be pointed out that each of the 20 heliogravures was signed with a pencil by the photographer (and numbered, from 1 to 20) ! Despite a thorough research, we could not find any record of another copy with such features, i.e.with all the plates that are signed by the artist. Slipcase of this copy is very damaged and with lacks). Foxings can be seen on first sheet, as well. Nevertheless, the prints are in very good condition. Français
réf. 228786S.l., s.d. (1654) in-8 oblong, maroquin vieux-rouge, dos à nerfs orné de caissons richement décorés, double encadrement de double filet doré sur les plats avec fleurons d'angle, tranches dorées (reliure de l'époque). Coiffes et nerfs frottés, coins très abîmés, plats salis, certaines planches défraîchies ou avec mouillures.
1862réf. B6492Paris: Librairie maritime et scientifique Arthus Bertrand editeur. 1862. A near fine copy with one plate with marginal tears otherwise texts and plates are clean and crisp. . Binding: Contemporary cloth rebacked in calf expertly title in gilt on spine spine with 4 raised bands. Notes: François-Edmond Paris 1806–1893 was a French admiral notable for his contribution to naval engineering during the rise of the steam for his books and for his role in organising the Musee national de la Marine. Michel Charles Fichot 1817 - 1903 was a French painter designer illustrator and lithographer. Hubert Clerget 1818 - 1899 was a French lithographer and painter. Jules Gaildreau 1816-1898 was a draughtsman illustrator active in Paris. This is the first and only edition of this beautifully illustrated work. It is an account of the 1861 visit to Jerusalem undertaken by the third French Squadron of the Mediterranean. This book is famous for the quality of its 12 hand-coloured plates including the Mosque of Omar and the El-Aqsa Mosque. François-Edmond Paris joined the French Navy in 1820 and took part in three great expeditions: the first under d’Urville abord the Astrolabe 1826-9 and two under Laplace on the Favorite 1829-32 and the Artemise 1837-40. In 1858 he was named rear-admiral and was given the command of the third French Squadron of the Mediterranean. Before publishing “Souvenirs de Jerusalem” Paris had already published two important folios on naval and marine architecture. The “Notes historiques'' provide a rich and fascinating complement to the plates providing not only historical references but also the author’s impressions as a visitor. Size: Large Folio. Illustration: Illustrated with 14 full page finely coloured plates. References: Blackmer 1255; Röhricht 508. Category: Book Asia Middle East Holy Land; Book Plate Books Colour; Librairie maritime et scientifique Arthus Bertrand, editeur. hardcover
1831réf. 2996Paris, Charles Gosselin, 1831 (imprimerie de Cosson) ; deux tomes in-8 réemboités dans une reliure romantique d'époque, plein veau glacé bronze, dos à nerfs plats décorés, fleurons romantiques dorés entre-nerfs, palette décorative dorée en pied, plats ornés d'un grand décor romantique à la plaque gravée, toutes tranches dorées, liseré bordeaux en bord des plats et des coiffes replié plus largement à l'intérieur avec roulette dorée et filet doré sur les coupes ; tome I ; (4) ff. (faux-titre, au verso Oeuvres de Victor Hugo et nom d'imprimeur, titre avec une vignette de Tony Johannot gravée sur bois par Porret, préface datée de mars 1831), 404 pp. ; tome II ; (1) f. (absence du faux-titre, titre avec une autre vignette de Tony Johannot gravée sur bois par Porret), 536 pp., fautes de pagination : les pages 491 et 495 sont paginées par erreur 391 et 395.
réf. EN-136o.J. Lithographie, 1925, auf Velin, mit schwarzer Kreide betitelt ?La Fenêtre sur la Ville 1910? und signiert ?R Delaunay?. Darstellungsgröße 54,5:42 cm, Blattgröße 63,4:47,2 cm. Mit dem Trockenstempel ?Atelier R. Delaunay, 19 B Malesherbes, Paris? in der rechten unteren Blattecke. Mit Restaurierungen in den Blatträndern. Literatur: Loyer/Perussaux 4. ? Eines von 60 geplanten Exemplaren. Die Lithographie entstand in freier Nachempfindung der Gemälde ?Fenêtre sur la Ville? von 1910 und ?Les Fenêtres simultanées sur la Ville? von 1911.
1906réf. 1608in-4 (31 x 27 cm), reliure maroquin vert pomme, signée Noulhac, tranches dorées. Album in-4 (32 X 26 cm), contenant 52 étonnantes et fidèles aquarelles originales représentant les ponts de Paris signées et dédicacées à l'homme d'affaires Angelo Mariani, ami et commanditaire de l'artiste, auteur de ces aquarelles qui représentent fidèlement les ponts de Paris à la Belle Epoque. Chaque aquarelle (format 9 x 13,5 cm=) est légendée par le peintre, à la plume. Voici quelques Ponts : ALEXANDRE III - SULLY - PASSERELLE DES ARTS - PONT NEUF - PONT AU CHANGE - PONT NOTRE DAME - AUSTERLITZ - VIADUC D'AUTEUIL- PONT MIRABEAU - MARCHE AUX FLEURS - IENA - GRENELLE - PONT MARIE - ALMA - garigliano - PONT MIRABEAU - etc...
1945réf. 56982Un des 700 exemplaires numérotés (n° 312 imprimé pour Henri de S...), préface de Maurice Garçon, 1 vol. in-folio en feuilles sous emboîtage éditeur rigide, Ateliers d'Impressions et de Cartonnages d'Art, s.d. [ 1945 ], 3 ff. et 20 planches en héliogravure
