FEURE Georges deMareMagnum
3.184 Ergebnisse
1897- L'Estampe Moderne, Imprimerie Champenois pour CH. Masson & H. Piazza, Paris (Juin 1897), sujet : 25,5x33cm, planche : 40,8x55cm, une feuille. - "Retour" - Original lithograph on Japan paper - L'Estampe Moderne L'Estampe Moderne | Imprimerie Champenois pour C.H. Masson & H. Piazza | Paris (Juin 1897) | subject: 25.5 x 33 cm | plate: 40.8 x 55 cm | one leaf Rare original color lithograph by Georges de Feure for L'Estampe Moderne, series no. 3, published in July 1897. One of 50 grand luxe proofs printed on Japan paper with wide margins, signed by the artist in the stone, publisher's embossed stamp showing a child in profile to lower margin, numbered stamp of the de luxe printing to verso, upper margin of proof slightly sunned; the print itself preceded by a silk paper guard with the name of the artist, the title of the work and an introduction to the artist as well as a blank guard leaf. A magnificent monthly French publication that appeared between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs that, unlike those in other magazines like Les Maîtres de l'Affiche and as is stipulated on the guard sheets, were specially made by each artist for the magazine. There are thus 100 prints that appeared in total, covering the major artistic currents of the late 19th Century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalists and the Belle époque. Each fascicule of four prints was printed in 2,000 copies and sold for 3.50F, with 100 on Japan paper sold at 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on Japan paper with wide margins and 50 in black and white on China paper at the considerable price of 30F. This well-sized print is superbly printed in colors on the most prestigious of papers: Japan. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its absorptive qualities for ink and its affinity for colors make it the ideal support for these lovely lithographs. The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this growing interest: affichomanie, or poster mania. The poster, originally not rare and posted up in the streets of the capital, thus became a work of art and its ephemeral background became precious and essential for conservation. Piazza decided to extract the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He thus put together a prestigious collection of entirely original works by the most fashionable European artists of the age: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc. A fine copy of this Art Nouveau style poster. [FRENCH VERSION FOLLOWS] Rare lithographie originale, exécutée par Georges de Feure pour L'Estampe Moderne, série numéro 2 publiée en mai 1897. Une des 50 épreuves de grand luxe tirées sur Japon à grandes marges, papier velin contrecollé sur Japon, signature de l'artiste dans la planche, timbre à sec de l'éditeur représentant un profil d'enfant en marge inférieure, tampon numéroté du tirage de luxe au dos ; gravure précédée d'une serpente légendée du nom de l'artiste, du titre et d'un extrait d'oeuvre ; serpente vierge. Magnifique publication mensuelle française éditée entre mai 1897 et avril 1899, L'Estampe moderne se constitue de chromolithographies inédites qui, contrairement à d'autres revues comme Les Maîtres de l'Affiche et tel qu'il est stipulé sur les serpentes, ont été réalisées spécialement par chaque artiste pour la revue. Ce sont ainsi 100 estampes qui paraissent au total, couvrant les courants artistiques majeurs de la fin du XIXème siècle : Symbolisme, Art Nouveau
1897Best.-Nr. 73919Imprimerie Champenois pour CH. Masson H. Piazza | Paris (Juin 1897) | 23.50 x 33 cm | une feuille
1959Best.-Nr. 015767Paris Falaize (Georges Fall) 1959 In-8 carré En feuilles, couverture illustrée rempliée, chemise et étui éditeur Ed. originale
1905Best.-Nr. 46405405s. l., 1905 ; 50 x 32 cm., en feuilles, couverture imprimée ornée d’une vignette sur bois. 2 pp. de texte (préface), 7 lithographies sur papier vélin fort brun.Seul numéro de cette revue de lithographie. Le préfacier annonce l’ambition de faire connaître de jeunes lithographes de talent et n’appartenant à aucune école, grâce à la participation de maîtres reconnus - il cite comme tels Steinlen et Rodin. L’ouvrage comporte les 6 lithographies suivantes : A. Steinlen Le Transporteur ; A. Rodin Étude ; E. Bourdelle Repos ; Traiteur Les Résignés ; M. Robin Une Rue ; J.-P. Dubray Intimité. Cette dernière lithographie est ici en 2 exemplaires, l’une avec un envoi à la mine de plomb “Au camarde Drujon en toute sympathie” signé de Jean-Paul Dubray datée de 1906. Cette lithographie manque au Fonds Français VII p. 118-19 qui précise que “Son œuvre au Cabinet des Estampes est incomplet, et ne comprend, sauf indication contraire, que des bois”.
1840Best.-Nr. 84312Léopold Pannier et Cie | Paris s. d. [1840-1850] | 25.50 x 34.50 cm | 25 lithographies reliées en un volume
1900Best.-Nr. 80337Imprimerie Lenepveu | Paris s. d. [janvier 1900] | 49.80 x 65.20 cm | une affiche
1900Best.-Nr. 80343Imprimerie Lenepveu | Paris s. d. [mai 1900] | 49.80 x 65.20 cm | une affiche
1935Best.-Nr. 4056Lausanne, Gonin, 1935. In-folio en feuilles de 122-[2] pages, couverture blanche rempliée ornée d’une composition de Maillol, sous chemise demi-vélin blanc et étui cartonné. Belle condition.
1951Best.-Nr. 20284Paris, Scripta et Picta, 1951. In-folio en feuille, couverture imprimée en gauffré-doré, chemise, étui.
1955Best.-Nr. 15030Genève, Pierre Cailler éditeur et se vend chez Maurice Bridel, libraire à Lausanne, 1955. In-4 en feuilles sous couverture à rabats.
1839Best.-Nr. 7565Paris, Veith et Hauser, vers 1839 [?]. In-folio oblong, demi-percaline beige, dos muet, titre inscrit en allemand, à la plume, sur le bord du premier plat. Premier plat de couverture conservé. Quelques rousseurs.
1862Best.-Nr. 2233Genève, F. Charnaux, [1862]. 1 vol. petit in-plano (475 x 367) 1 page de titre et 15 planches. Pleine percaline verte d’éditeur, dos lisse et muet, 1er plat orné du titre, de l’adresse de l’éd. et du drapeau suisse. Accroc au bas du dos, dos frotté, onglets faibles.
1938Best.-Nr. 11642Verve. Paris. 1938 1939. FOLIO. 14.1 x 10.4 inches. Two issues bound in one hardback volume. Fully illustrated throughout with drawings paintings and photographs these 2 numbers contain original full colour lithographs by Chagall Miro Rattner Klee Matisse & Derain. The two issues have been bound into one hardbound volume and the binding has been beautifully hand painted in acrylic and oils with an abstract design including the volume title to both the boards and the spine by noted Neo-Expressionist American painter Gaylen Hansen. There is some rubbing to the edges and one small split to the outer edge of the front board without loss which has been strengthened to the inside with clear tape but generally the book is in very good condition. Included with the volume is a fine hardback copy of the fully illustrated book issued in 2007 to accompany the retrospective exhibition "Gaylen Hansen: Three decades of Paintings" at the Seattle Art Museum October 2007 - January 2008 and Salt Lake City Art Center February - April 2008. Verve. Paris. 1938 1939 hardcover
1944Best.-Nr. 013801Paris (Seghers), Editions Poésie 44 1944 In-4 Reliure Dédicacé par l'auteur
1897- L'Estampe Moderne, Imprimerie Champenois pour CH. Masson & H. Piazza, Paris (Juin 1897), sujet : 23,5x33cm, planche : 40,8x55cm, une feuille. - "Salomé" - Original lithograph on China paper - L'Estampe Moderne L'Estampe Moderne, Imprimerie Champenois for C H Masson & H Piazza | Paris (june 1897) | subject: 23.5 x 33 cm, plate: 40.8 x 55 cm | one leaf and one guard Rare original black and white lithograph by Alphonse Mucha for L'Estampe Moderne, series number 2, published in June 1897. One of the 50 grand luxe proofs printed on China paper with wide margins, signed and dated by the artist in the plate. Embossed stamp of the publisher showing a child in profile to lower margin, laid down on a leaf of vélin paper with the numbered stamp of the tirage de luxe to verso, occasional spotting to margins not touching image, blank guard. A magnificent monthly French publication that appeared between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs that, unlike those in other magazines like Les Maîtres de l'Affiche and as is stipulated on the guard sheets, were specially made by each artist for the magazine. There are thus 100 prints that appeared in total, covering the major artistic currents of the late 19th Century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalists and the Belle époque. Each fascicule of four prints was printed in 2,000 copies and sold for 3.50F, with 100 on Japan paper sold at 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on Japan paper with wide margins and 50 in black and white on China paper at the considerable price of 30F. This well-sized print is superbly printed in colors on the most prestigious of papers: Japan. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its absorptive qualities for ink and its affinity for colors make it the ideal support for these lovely lithographs. The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this growing interest: affichomanie, or poster mania. The poster, originally not rare and posted up in the streets of the capital, thus became a work of art and its ephemeral background became precious and essential for conservation. Piazza decided to extract the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He thus put together a prestigious collection of entirely original works by the most fashionable European artists of the age: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc. He also included in this project a Czech artist freshly arrived in Paris, Alfonse Mucha "who has only recently become active in France but who has immediately carved out for himself the affection of the public. Like in his posters, which everyone knows and covets, he shows us here the varied resources of his multifaceted talents as accomplished draughstman, decorator and colorist" (from the notes printed on the guard for Salomé). The two first special numbers of the review were in fact dedicated to him, and were given to "all the subscribers for all twelve annual numbers of L'Estampe moderne" as well as the famous illustration of the covers. A fine signed plate by the master of Art nouveau. [FRENCH VERSION FOLLOWS] Rare lithographie originale exécutée par Alphons Mucha pour L'Estampe Moderne, série numéro 2 publiée en juin 1897. Une des 50 épreuves de grand luxe tirées sur Chine à grandes marges, signature de l'artiste et date dans la planche, timbre à sec de l'éditeur représentant un profil d'enfant en marge inférieure, contrecollée sur un feuillet de papier vélin avec au dos le tam
Best.-Nr. 99510aafGenève, chez Briquet et Dubois, s.d. (vers 1840), in-8vo oblong (17x13 cm), gardes roses imprimées de publicité pour l'éditeur à gauche et le titre à droite + 100 vues lithographiques par Lemercier, Kaeppelin, Engelmann père et fils, de Bernard et Frey à Paris et Pegeron fait par plusieurs dessinateurs d'après Dubois, qqs rousseurs, reliure romantique d'époque en cuir, titre et ornements imprimés or à froid, tranches citron, petits frottements, emboîtage. Très bel exemplaire.
Best.-Nr. 140134aafGenève, F. Margueron, (Lausanne - Imprimerie Pache), MDCCCLXIII, (1863), in-8vo, oblong, titre imprimé + 28 ff. de texte explic. sur la Confédération Suisse et ses Cantons + 1 planche lithogr. en rond: écusson de la Confédération Helvétique, daté MDCCCLXIII + 51 planches lithographiées tirées à plusieurs couleurs (dont les superbes panoramas sur double-page signés (Charles) F(rédérique) Baumann et (Gabriel) Loppé), reliure en d.-cuir au petits coins récente, dans le style de l’époque
1926Best.-Nr. 15064[Lausanne], Mermod, 1926. In-folio broché de [116] pages, belle couverture imprimée en vert et noir.
1997Best.-Nr. 12096Lausanne, Edition Raynald Métraux, 1997. In-folio de 28 pages, en feuilles sous chemise blanche et emboîtage pleine toile marron, titre en blanc au premier plat.
1936Best.-Nr. 11780Lausanne, Au Verseau, 1936. In-4 broché de [8]-25-[7] pages, couverture rempliée imprimée en deux tons. Second plat à peine insolé, pour le reste en belle condition.
1933Best.-Nr. 028506New York: John Becker / Merle Armitage / Will And Lynton R. Kistler 1933. 1st Edition 1st Printing. Soft cover. Fine/Very Good Dust Jacket. #243 Of 500 Copies Signed By Armitage Kistler And Charlot With 32 Original Lithographs By Charlot Signed In Color On The Plates And A Dj By Charlot. True Lithographs Drawn By Charlot Directly On 34" X 44" Zinc Plates In A Color Separation Process That Charlot Had Learned From Ben Shahn. Text Hand-Set By Kistler In Castellon Old Style With Heads In Bodoni Ultra-Bold. A Fine As New Example No Wear Or Damage No Browning Or Fraying. With The Original Light Brown Dust Jacket Lettered And Illustrated In Red On Front And Rear Covers And On Spine With Unprinted Upper And Lower Flaps On Front Panel Side Flap On Rear Panel; The Dust Jacket Has Light Edge Wear And Spine Wear With Very Short Tears At Corners And A 1/8" X 1/16" And Another 1/8" X 1/4" Light Brown Stain Or Mark At Lower Front Spine Corner Otherwise Very Clean And Unfaded. An Exceptional Example. With The Four Page Prospectus For The Book With Another Original Zinc Lithograph By Charlot Signed In Pencil #25 In The Book But With A Completely Different Color Scheme From That In The Book; The Prospectus Had A Small Printing For Circulation Amongst Printers In Los Angeles And Is Rare No Institutional Holdings Identified In Worldcat. John Becker / Merle Armitage / Will And Lynton R. Kistler paperback
1930Best.-Nr. 0599041930. Original Art Works . No Binding. Fine/Slipcase. A Suite Of Illustrations Unbound Ten Groups Of 13-20 Loose Lithographs Wrapped And Sealed In Glassine Enclosed In A Slipcase. Printed In Color Or B/W No Publisher Or Date Indicated Anywhere Many Signed In The Plate By Early 20Th Century Illustrators Fine Paper 9" X 6 5/8". All Enclosed In A Simple Open Three-Panel Folder Paper With Cloth Edges With Morocco Label "Octave Mirbeau / Suite Des Hors-Textes" And In A Matching Cloth Slipcase With Gray Paper Sides And Cloth Edges. The Illustrators' Artistic Histories And Life Spans Indicate These Were Likely Done In 1920'S-1930'S For An Intended But Unpublished Limited Edition Of Octave Mirbeau's Works Possibly For A Nascent Firm That Failed In The Early 1930'S. One Set By Edy Legrand Is Clearly For "The Torture Garden" By Mirbeau The Other Sets For Nine Of His Other Books. Altogether Two Sets By Legrand One By Jean Launois 1898-1942 One By Berthold Mahn 1893-1975 Three Other Sets Signed But With Illegible Signature Other Sets Not Signed. unknown
1959Best.-Nr. 118735Heures claires 1959-1963 6 Paris, Editions d'Art Les Heures Claires, 1959-1963, 3 parties en 6 volumes in-folio de 345x280 mm environ, en feuillets libres sous couvertures rempliées, chemise et emboîtages décorés de l'éditeur. Un des 3900 exemplaires numérotés sur vélin pur chiffon de Rives, complet des 100 compositions de Salvador Dali gravées sur bois en couleurs par Raymond Jacquet, bien complet du "Catalogue des 100 illustrations [...]" rarement présent habituellement. L'Enfer, Tome I. 183 pages, 17 planches - Tome II. 189 pages, 17 planches - Le Purgatoire, Tome I. 182 pages, 16 planches - Tome II. 204 pages, 17 planches - Le Paradis, tome I. 188 pages, 16 planches - Tome II. 193 pages, 17 planches. Quelques discrets frottements sur les étuis, petites taches sur trois feuillets, rares rousseurs, sinon intérieur frais, bon état général, bel ensemble.
1816Best.-Nr. 21612Lindau, circa 1816. 34 cahiers grand in-folio, chacun sous couverture de l'éditeur, imprimée sur papier bleu (les feuillets mesurent 49 x 43 cm, les couvertures sont plus grandes).
1955Best.-Nr. 008624Paris Tériade 1955 in folio En feuilles, couverture rempliée, chemise et étui éditeur
