Nadar [Gaspard-Felix Tournachon]Biblio.com
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18641408855Paris: E. Dentu 1864. Softcover. Octavo xx 1 22-439 pages. In Very Good condition. Rebacked with original front and rear covers preserved. Red label with black lettering to spine. General rubbing and wear to wraps. Inscribed by Nadar on half title page dated 1864. Interior pages clean. Text in French. Illustration loose but present in laid in rear. Shelved in Case 10. Gaspard-Félix Tournachon known by the mononymous pseudonym Nadar was a French photographer caricaturist journalist novelist balloonist and proponent of manned flight. In 1858 he became the first person to take aerial photographs. Le Géant The Giant inspired Jules Verne's Five Weeks in a Balloon. Nadar was the inspiration for the character of Michael Ardan in Verne's From the Earth to the Moon. Wikipedia<br /> <br> <br /> He launched the world’s largest gas balloon known as Le Géant Giant. The 196-foot-tall balloon had required more than 300 seamstresses to assemble its 22000 yards of silk and at the time was the most elaborate aerial vehicle ever devised. airspacemag. 1408855. Shelved Dupont Bookstore. E. Dentu unknown
189928857Paris: Ernest Flammarion 1899. First edition. Nadar. Small 8vo. viii 276 pp. table des matières. Bound in contemporary linen gilt-titled morocco label on spine and marbled endpapers. Leaves age-toned throughout. A very good copy. This is the true first edition first issue released without the final chapter "1830 et environs"; this first issue ends on p. 276 followed by the table of chapters. In the later issue there are 4 lines of text on p. 277 blank p. 279 "1830 et environs. Ernest Flammarion unknown
1860251330Paris: Chez Les Marchands des Nouveautés Artistiques 1860. 52 numbers in all each 8 pp. Profusely illustrated with woodcuts each number with a handcolored woodcut frontispiece by Alfred Grévin. 1 vols. 4to. Publisher's green pictorial paper over boards rebacked in tan buckram. 52 numbers in all each 8 pp. Profusely illustrated with woodcuts each number with a handcolored woodcut frontispiece by Alfred Grévin. 1 vols. 4to. "Grévin employé au chemin de fer de Lyon il entra au Journal Amusant et au Petit Journal pour Rire en 1859. Son succès fut très grand. Grévin mettait au bas de ses dessins des legendes pleines d'esprit." Benezit. Chez Les Marchands des Nouveautés Artistiques unknown
1868251331Paris: Chez Les Marchands des Nouveautés Artistiques 1868. 47 numbers in all each 8 pp. Profusely illustrated with woodcuts each number with a handcolored woodcut frontispiece by Alfred Grévin. 1 vols. 4to. Publisher's green pictorial paper over boards rebacked in tan buckram. 47 numbers in all each 8 pp. Profusely illustrated with woodcuts each number with a handcolored woodcut frontispiece by Alfred Grévin. 1 vols. 4to. "Grévin employé au chemin de fer de Lyon il entra au Journal Amusant et au Petit Journal pour Rire en 1859. Son succès fut très grand. Grévin mettait au bas de ses dessins des legendes pleines d'esprit." Benezit. Chez Les Marchands des Nouveautés Artistiques unknown
18805835Goupil Paris 1880; Large woodburytype photograph by Nadar Gaspard Felix Tournachon of French playwright and operatic librettist Edmond Gondinet 1828-1888 whose work includes the text for the Leo Delibes opera "Lakme." Photo measures 7 1/2" x 9 1/4" mounted on 11" x 14" card. Complete with the original two 11" x 14" leaves of background and analytical text by Gustave Goetschy. From the eminent French 19th century "Galerie Contemporaine" photographic collection of leading figures from the arts and sciences published by Goupil and issued in parts from 1876 to 1884. Fine condition. There is a miniscule 1/16" corner chip of the mounting card in the blank area at lower right and light to moderate foxing of the text pages. Text in French. Goupil unknown
187776745Paris: Georges Decaux 1877. Fine. Georges Decaux Paris s. d. 1877 11.50 x 18.50 cm relié First edition. Contemporary half bottle-green shagreen binding spine with five raised bands set with gilt fleurons some minor rubbing to spine without gravity marbled paper boards endpapers and pastedowns of pebbled paper contemporary binding. Some minor foxing without gravity a pencil library shelf mark on one endpaper. Autograph inscription dated and signed by Nadar: ""A M. Bertrand de main amie. Nadar. Nov"". Georges Decaux hardcover
188249432Paris: chés l'auctheur 1882. Fine. chés l'auctheur Paris s. d. 1882 14 x 19 cm relié first edition of this Rabelaisian style pamphlet directed against Gambetta one of 300 numbered copies on Holland paper. Binding to open bradel ivory wove smooth back red mesh coaching boards and boards painted in watercolor compositions centers: a bookplate and a monogram on the first front cover and Léon Gambetta embodying Christ crucified fragile parchment wrappers preserved and bound in contemporary binding signed Dodé. Nadar handwritten signature under the justification of the draw. In addition this copy is enriched with a handwritten correction Nadar pencil in The Passion p. 45 to orveitan sic. Book adorned the author of illustrations. Provenance: Library of Frederick Lachèvre bibliographer specialist in French poetry with its large bookplate engraved and painted emblem repeated in the first boardes. A book illustration is reproduced on the lower flat of each volume. Some light and light bites to bookbinding. chés l'auctheur hardcover
188249471Paris: chés l'auctheur 1882. Fine. chés l'auctheur Paris s. d. 1882 14 x 19 cm relié first edition of this Rabelaisian style pamphlet directed against Gambetta one of 300 numbered copies on paper of the Netherlands. Binding to open bradel ivory wove smooth back red mesh frame compositions painted boards and boards to centers: a bookplate and a monogram on the first front cover and Léon Gambetta dabbling in a bathtub on the second fragile parchment wrappers preserved and bound in contemporary binding signed Dodé. Nadar handwritten signature under the justification of the draw. Book adorned the author of illustrations. Provenance: Library of Frederick Lachèvre bibliographer specialist in French poetry with its large bookplate engraved and painted emblem repeated in the first boardes. A book illustration is reproduced on the lower flat of each volume. Some light and light bites to bookbinding. chés l'auctheur hardcover
189113261Paris: A l’Office Général de Photographie 1891-1892. Buono stato di conservazione nel complesso legatura un po' stanca e alcune delle tavole sono distaccate ma presenti; occasionali arrossamenti e fioriture. Copertine dei fascicoli omesse dal legatore; sul dorso del volume erroneamente indicato 1892-93 anziché 1891-92. Tredici fascicoli raccolti in un volume in mezza tela cm 25x18 pp 453 1 184 2 numerose tavole e figure in nero alcune fotografie applicate e tavole a colori. Buono stato di conservazione nel complesso legatura un po' stanca e alcune delle tavole sono distaccate ma presenti; occasionali arrossamenti e fioriture. Copertine dei fascicoli omesse dal legatore; sul dorso del volume erroneamente indicato 1892-93 anziché 1891-92. Rara serie dei primi fascicoli del periodico fondato e diretto dal figlio e successore di Nadar Paul che trasformò l’atelier del padre in una moderna impresa fotografica attiva anche nel campo editoriale e commerciale. La rivista nacque in seno all’Office Général de Photographie aperto a Parigi nel 1889 come studio rivendita di apparecchiature fotografiche e sede delle molteplici attività di Paul Nadar ed ebbe in questi primi anni Georges Aubry e Adrien Lefort segretari di redazione; ciascun fascicolo era illustrato da numerose figure nel testo e da tavole fuori testo in heliogravure o con cliché di serie di scatti di Nadar applicati. La rivista raccoglie articoli di Paul Nadar Auguste e Louis Lumière J. Marey A. Cornu H. Fortier J. Janssen E. Silas L. Vidal e molti altri che illustrano le più recenti innovazioni e ricerche in campo di chimica ottica e tecnica fotografica; presenti inoltre notizie di associazioni e congressi brevetti e aggiornamenti bibliografici; Nadar padre figura con numerosi Souvenirs d’un Atelier de Photographie; in ciascun numero tavole in heliogravure ritratti o illustrazioni delle tecniche descritte con alcune spettacolari immagini di fotografia astronomica curiose tavole di gusto lombrosiano di fotografia forense esempi di policromia… e una stampa fotografica applicata con serie di ritratti di personaggi dello spettacolo Sarah Bernhardt Mme Melba e molte altre attrici. Alla fine della prima annata completa dal numero 1 di aprile al 9 di dicembre copiosi indici dei nomi delle materie e delle tavole; seguono i primi 4 fascicoli del 1892 completando la serie del primo anno di vita della rivista. A l’Office Général de Photographie hardcover
185629403Paris : Aux Bureaux du Journal Amusant du MusÂŽe FranÂais-Anglais et des Modes Parisiennes sans date vers 1856-1880. 310x215mm. reliure demi-basane. Titre et filets dorÂŽs au dos cuir par endroits frottÂŽ reliure de lՎpoque. Les numÂŽros comportent 8 pages ˆ partir du numÂŽro 32 de la premiÂre sÂŽrie la premiÂre page est coloriÂŽe. 14050 Aux Bureaux du Journal Amusant, du MusÂŽe FranÂais-Anglais et des Modes Parisiennes unknown
188071647Paris: Goupil & Cie 1880. Fine. Goupil & Cie Paris 1880 24 x 33 cm une feuille Photoglypty from the Galerie contemporaine. Portrait of Edmond Goncourt. Mounted sheet on which a photoglypty of 19x24cm has been laid down. Caption at the bottom of the mount: Galerie Contemporaine 126 boulevard de Magenta. Phot. Goupil et Cie. Cliché Nadar 51 rue d'Anjou-St-Honoré. Superb condition. Handsome portrait of the writer seated with a fixed and fierce gaze a cigarette in his right hand his elbow resting on attributes that represent him. Close to a carbon print by its warm and deep tones photoglypty is a complex photomechanical process of photographic reproduction which the publishing industry used for about 20 years from 1875 to 1895. Seeking an ideal and aesthetic image of famous men the plates were always retouched and repainted to erase an unsightly wrinkle or too troublesome defect to polish the hair etc. Thus photography and printmaking converge in a new representation. The Galerie Contemporaine became a publishing house that sold images of contemporary men these images were assembled into 8 folio volumes by Paul de Lacroix but continued to be sold separately at the headquarters of the Galerie Contemporaine. Goupil & Cie unknown
185740580Paris: Michel Lévy 1857. Fine. Michel Lévy Paris 1857 11.50 x 18 cm relié Second edition published one year after the first edition. Half fir green shagreen binding with corners spine with five raised bands set with black fillets decorated with double black compartments embellished with gilt fleurons slight scratches without any gravity on one joint marbled paper boards marbled endpapers and pastedowns all edges gilt. Autograph inscription signed by Nadar to Madame Dufay. Handsome copy. Michel Lévy hardcover
1864410203Paris: E. Dentu 1864. 8vo. i-xvi; I-XX; 21-439 1 . Text in French. Publisher's pictorial wrappers largely unopened slight lean to spine tear at edge of front cover moderate creases wear and soiling moderate foxing to bulked edges and front and rear pages. First edition. A superior copy and quite scarce in the original wrappers. Nadar in addition to being the most famous French photographer of his time was also a caricaturist who relished his own celebrity. He had an enormous hot air balloon Le Geant which came with a gondola and a photographic studio a print room two cabins a storeroom and a lavatory. The present work describes its brief but glorious career including the not-so glorious crash in Hanover in 1863 that seriously injured his wife. E. Dentu unknown
185673025Paris: Nadar 1856. Fine. Nadar Paris s. d. 1856 6.50 x 10.20 cm une photographie Original albumen print photograph depicting Alphonse de Lamartine in carte-de-visite format mounted on studio card from Nadar ""35 boulevart des Capucines"". This photograph taken in 1856 was marketed between 1862 and 1871 as evidenced by the photographer's address on the back of the card. Pen annotation on the reverse of the photograph. Nadar unknown
188073633Paris: Nadar 1880. Fine. Nadar Paris 1880 10.70 x 16.60 cm une photographie Original albumen photograph in cabinet card format mounted on cardboard. At the bottom of the photograph: Aimé dupont 574 fifth Avenue New-York. Portrait of the actress taken in New-York during the great American tour of 1880-1881 256 performances in 50 cities. Sarah Bernhardt poses in elegant Parisian attire her gaze turned skyward. Signed in the plate: Copyright by A. Dupont. Good overall condition one dark stain on the right of the photograph near the margin. Aimé Dupont was a Belgian photographer first active in Brussels then in Paris. He settled in New-York with his American wife Etta Greer herself a photographer. Already in Paris the photographer had specialized in photographs of actors and singers from the Opera and he renewed this specialty for the New-York opera and all the French artists who came to the USA. It is therefore not surprising that Sarah Bernhardt visited his studio to create a recent photograph dedicated to her American tour. Nadar unknown
186771239Paris: Nadar 1867. Fine. Nadar Paris s. d. 1867 6.60 x 10.40 cm une photographie Nadar Paris N.D. but 1867 66x10.4 cm photograph Original photograph on albumin paper in a visiting card format laid down on card by Nadar initialed and with a red border. Doré poses with his arm on a fringed chair the same as in the portraits of Théophile Gautier Edouard Manet and Alexandre Dumas. Manuscript annotation to verso. We have not been able to find any copies of this photograph in any of the international public collections. Nadar unknown
189370792Paris: Office général de Photographie 1893. Fine. Office général de Photographie Paris Janvier-Décembre 1893 18.50 x 27 cm 12 fascicules brochés First edition. Complete third year in 12 issues of this extremely rare scholarly review founded and directed by Paul Nadar. Each copy includes at least two plates outside the text including a plate of Nadar's photographic prints and a photograph often reproduced in heliogravure. Contributions by P. Nadar A. and L. Lumière A. Marey G. Geffroy J. Grand-Carteret J. Demarçay Davison S. Ferrand H. Fourtier C. Gravier A. Guerronnan Ponton d'Amécourt H. Reeb L. Vidal J. Waterhouse. Among the numerous subjects treated one will find chronophotography color reproduction skies in photography The pilgrimage to Mecca very beautiful heliogravure plate outside the text of the grand çalat ceremony. ""We believe we are advancing progress by interesting the public even more in this entirely French discovery of Photography."" ""Nous pensons faire oeuvre de progrès en intéressant encore davantage le public à cette découverte toute française de la Photographie."". Thus Paul Nadar concluded his introduction as presentation of this precious review containing a print by the celebrated photographer in each issue. At the origin of the creation of Paris-photographe P. Nadar explains the absence of a luxury photography review in France contrary to the magnificent foreign publications. Some rare and minimal marginal dampstains and small tears of no consequence otherwise very handsome uncut copies forming a set of remarkable rarity. Office général de Photographie unknown
1864182678Various publishers in or near Brussels: c.1864. The Brussels ballooning buzz Scarce material capturing the excitement generated by the launch of Le Géant 6000 cubic metres in size and equipped with a huge cabin to celebrate Belgian National Day. As much a publicist as an aviator Nadar turned the event into an epic spectacle the crowds teeming behind barriers. He shared a passion for the skies with Jules Verne who drew on Nadar's exploits for his writings. Born Gaspard-Félix Tournachon Nadar 1820-1910 was also a pioneering photographer taking some of the earliest aerial shots of Paris. Le Géant was commissioned from the balloonist Eugène Goddard in 1863 and was first launched in Paris in October of the same year in front of 80000 people. A second launch drew half a million people setting the stage for the scenes in Brussels. Among those struck by the sight was Jules Verne who had established Societe d'aviation with Nadar in 1862. Verne based Five Weeks in a Balloon 1863 on Le Géant and Nadar appeared as the character Michael Ardan in Verne's From the Earth to the Moon 1865. The publications give information on the balloonist's background and his visit their excitable tone sometimes crossing over into satire. a Le Ballon Le Géant et Nadar Pérégrinations Accidents Notices biographiques etc. etc. Brussels: P. J. Leemans 1864. 8 pp. original illustrated wrappers. b Nadar et le Ballon Le Géant. Saint Josse-ten-Noode: Renaut-Ledeganck c.1864. 8 pp. original yellow illustrated wrappers. c Nouvelle Ascensions du Géant. Relation du Voyage et la Chanson de Nadar. Brussels: Sorriaux c.1864. 8 pp. original self-wrappers unstitched. d Voyage Comique de M. Nadar. Circumnavigation Aérienne effectuée par M. Nadar en 4 Heures at 15 Minutes le 26 September 1864 à bord du ballon le Géant. Brussels: J. Sacré c.1864. 8 pp. original self-wrappers unstitched. 4 works octavo each 8 pp. Text in French. Each wrappers or self-wrappers stitched or unstitched see note. Housed in custom blue quarter cloth folder. One work with price on front cover changed in contemporary hand in pencil. Light creasing and toning: a near-fine collection of fragile material. hardcover
185684662Paris: Nadar 1856. Fine. Nadar Paris 1856 6.50 x 10.50 cm une feuille Original albumen carte-de-visite photograph. Salted paper print. One of the first portraits of the poet who was one of the photographer's first subjects. Rare like all the first portraits by Nadar of Vigny. Photograph mounted on rigid gray cardboard extracted from a collector's photograph album. In pen in the lower margin Le Cte Alfred de Vigny and in the right margin NADAR in capitals. One of Nadar's first portraits where his refined style already emerges. ""Nadar photographie ses modèles simplement n'utilisant que la lumière naturelle et zénithale diffusée par les verrières et réfléchie par de grands panneaux mobiles. Les poses à la manière d'Ingres valent surtout pour l'intimité et la complicité qu'il sait créer avec ses sujets. « La photographie est à la portée du premier des imbéciles elle s'apprend en une heure. Ce qui ne s'apprend pas c'est le sentiment de la lumière . et encore moins l'intelligence morale de votre sujet . et la ressemblance intime » dira-t-il. Dans cette période où le portrait s'industrialise dans un académisme convenu Nadar supprime les accessoires et décors conventionnels et refuse la retouche au profit de « l'expression vraie et de cet instant de compréhension qui vous met en contact avec le modèle qui vous aide à le résumer vous guide vers ses idées et son caractère »."" ""Nadar photographs his subjects simply using only natural and zenithal light diffused through glass roofs and reflected by large movable panels. The poses in the manner of Ingres are valuable above all for the intimacy and complicity he knows how to create with his subjects. 'Photography is within reach of the first fool it is learned in an hour. What cannot be learned is the feeling for light . and even less the moral intelligence of your subject . and intimate resemblance' he would say. In this period when portraiture becomes industrialized in conventional academicism Nadar eliminates conventional accessories and decor and refuses retouching in favor of 'true expression and that instant of understanding which puts you in contact with the model which helps you to summarize him guides you toward his ideas and his character'."" Claude Postel : connaissance des arts. The Nadar firm would execute later prints of this negative but this one is indeed a demonstration print not intended for commercial use. Like Baudelaire Vigny deplored the fashion for photography and particularly that of portraits but he paradoxically maintained his own collection of carte-de-visite photographs and at the end of his life he multiplied posing sessions first at Nadar's then at Le Gray's. Around 1855 he shows concern for his image the one he will leave to posterity and his photographic portraits must convey the character of the poet he wishes to leave behind. Thus we discover him in this portrait in a sphinx-like attitude seated rather rigidly in a velvet armchair his gaze directed toward the horizon arms crossed his right hand holding a mechanical pencil emblem of his vocation the rosette of the Legion of Honor adorning his collar. Nadar unknown
187882671Paris: Nadar 1878. Fine. Nadar Paris 1878 6 x 10.50 cm une photographie Original albumen photograph representing Jules Verne carte-de-visite format mounted on heavy cardboard from the Nadar studio ""51 rue d'Anjou St Honoré"". Pen annotation on verso with advertising information for the Nadar studio. Gold medal. Universal Exhibition 1878. Blue stamp; Publisher J. Kuhn Paris. Jules Verne met Nadar in 1861 and the two men became friends the man left a deep impression on him and his adventures inspired him for Five Weeks in a Balloon Nadar would join with Jules Verne to create a Society for the encouragement of balloon transport From the Earth to the Moon and Around the Moon. The author describes him thus in From the Earth to the Moon: ""He is a man of 42 years tall but already a little stooped like those caryatids who carry balconies on their shoulders. His strong head a veritable lion's mane shook at moments a fiery hair which made him a true mane. A short face broad at the temples adorned with a bristling mustache like a cat's whiskers and small somewhat disheveled tufts a myopic gaze completed this eminently feline physiognomy."" Handsome portrait of the writer by Nadar where he appears particularly warm and benevolent. Nadar unknown
1884353598Paris: Nadar 51 rue d'Anjou 1884. Half length portrait with hands at waist right hand on an ornamental belt. 1 vols. 13-1/2 x 7-1/2 inches. On black card mount lettered in gilt at foot and on verso. Old gilt frame by Walker Gallery Westport Conn. Half length portrait with hands at waist right hand on an ornamental belt. 1 vols. 13-1/2 x 7-1/2 inches. Attractive portrait of the young Sarah Bernhardt inscribed above her head. <br /> <br /> The most logical candidate for "Mademoiselle Moore" would seem Eva Moore 1870-1965 who had a long stage career and from 1920 made many films. She was quite well known married to<br /> actor-manager H. V. Edmond.<br /> Theater critic and translator Michael Feingold 1945-2022 knew Eva Le Gallienne 1899-1901 when he was a student a Yale. Provenance: Eva Le Gallienne; Michael Feingold Nadar, 51 rue d'Anjou unknown
188892029Paul Nadar 1888. Fine. Paul Nadar s. d. 1888 - 1900 11 x 16.4 cm Autre Original anf fairly large cabinet card photograph. Maupassant was 38 years old when he sat before Nadar's lens in July 1888 though some sources give 1890 as the date. Two photographs are known from this sitting one showing his right profile and the other his left profile as with the present example. A photograph mounted on Nadar's studio card with his stamp below. The verso bears various advertisements relating to Nadar. Guy de Maupassant was always reluctant toward photography even hostile to the public dissemination of his image. Very few photographs of the writer exist as he rarely sat for photographs and generally only for private purposes but Félix Nadar was both an acquaintance and a friend within his circle. ""I made it an absolute rule not to let my image be published if I can help it"" Autograph manuscript note undated reproduced in the Pléiade album p.8. This portrait by Nadar has remained the writer's most celebrated photographic likeness. Photographs of the writer remain exceedingly rare on the market particularly in cabinet card format. Paul Nadar unknown
186274488Paris: Nadar 1862. Fine. Nadar Paris 1862 5.10 x 8.50 cm une photographie Extremely rare original photograph showing Charles Baudelaire on albumen paper contemporary print in carte de visite format mounted on a board from the Nadar workshop 35 boulevart sic des Capucines; Photographic portrait for us taken by Nadar. Taken the same day as the previous one same dimensions same clothes. The waistcoat is still unbuttoned but Baudelaire hides his hands in the pockets of his trousers. Seen face on he seems more troubled and sadder than in the previous attempt. Ourousof 1896 Another carte de visite from the same day as the previous no. 41 . a contemporary albumen print found in the Musée d'Orsay collections Provenance: from the Braive collection then the Marie-Thérèse and André Jammes collection 1991 acquired by the Musées Nationaux with the support of the Heritage fund . Musée d'Orsay fiche 39389 S. Plantureux Charles Baudelaire ou le rêve d'un curieux. This photo taken in 1862 was sold between 1862 and 1871 as evidenced by the photographer's address on the back of the board. Only two of Baudelaire's poses seem to have been retained from this session. If photography is allowed to replace art in some of its functions it will soon have replaced or corrupted it altogether thanks to the natural alliance it will find with the multitude of nonsense wrote Charles Baudelaire in the Salon de 1859. We know of only fifteen different photographic portraits of Baudelaire taken between 1855 and 1866 three sessions at Nadar three at Carjat and one at Neyt for some of which there remains only one copy. Baudelaire and Nadar met in 1843 and their friendship endured until the poet's death in 1867. The photographer shot a total of seven portraits of his friend between 1855 and 1862. The two men full of admiration for one another paid each other moving tributes in their respective works: Baudelaire dedicated Le rêve d'un curieux The dream of a curious man in Les Fleurs du Mal to the photographer who dedicated to him in addition to the photographic caricatures and portraits an unvarnished work titled Charles Baudelaire intime: le poète vierge 1911. Extremely rare and beautiful copy of this little-known photograph of Baudelaire by the most important French photographer of the 19th century. Nadar hardcover
