312 résultats
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
1895206631895 Photographies en noir et blanc signées pour la plupart, certaines sont montées sur carton, (1895-1937), formats allant de 14 x 10 à 32 x 40 cm.
189192258Paul Nadar | Paris s. d. [1891] | 11 x 16.5 cm | format carte de cabinet
1884138930Paris, Ludovic Bascet 1884 12 volumes sur 14 grand in-4, demi-chagrin vert, dos à nerfs, flrurons et guirlandes dorées. 314 planches montées sur onglets. 1876, 2 volumes ; 1877, 2 volumes ; 1878, 2 manque 1878,1 ; 1879, 2 volumes ; 1880,1 manque 1880,2 ; 1881 à 1884 chiffrés 10 à 13. Menus frottements, un coin cassé 1877,2. Quelques rousseurs éparses n’affectant pas les portraits. Bon exemplaire.
187632237Seul portrait dédicacé connu S.l.n.d. [« Galerie contemporaine, 126 boulevard de Magenta » et « Cliché Nadar, rue d'Anjou-Saint-Honoré, 51 »]. 1 tirage sur papier albuminé (250 x 340 mm), encadré. Célèbre portrait sur papier fin, contrecollé sur carton de la Galerie Contemporaine littéraire (2e série, n°37). Rarissime épreuve dédicacée : «à mon cher Villegeorges, souvenir d'amitié, George Sand»
187646191876-1880. 175 numéros de 8 pages chacun, avec un portrait photographique monté sur la première page de chaque numéro, relié en demi maroquin vert, dos à nerfs, étiquettes de titre et tomaison en maroquin rouge, tête dorée.
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
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 | Paris s. d. [1888 - 1900] | 11 x 16.4 cm | Autre
18519021Écrivain. Paris 1826-1869. Dessin au fusain et à l'estompe rehaussé de gouache sur papier brun, titré en bas au centre et signé de l'initiale sur la droite. Panthéon Nadar 215. Voir le n° 75 de la vente à Drouot du 3/12/2004 (5300 €). Un dessin proche se trouve à La B.N. dont on sait qu'elle avait acquis nombre de dessins définitifs ou préparatoires au Panthéon Nadar. Ces trois dessins sont tous signés de Nadar qui semble avoir accordé une grande importance à ce personnage. Sous chemise fermée. Cette chemise ancienne porte le n° 66 : probablement de la vente du banquier Millaud vers 1865. Très bon Paris 1851/57 23,3 x 15 cm
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
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
185744468Paris, Dubuisson et Cie, 1857. Du numéro 1 (3 janvier 1857) au numéro 26 et dernier (27 juin 1857). 26 livraisons in-4 en feuilles.
185684662Nadar | Paris 1856 | 6.50 x 10.50 cm | une feuille
187882671Nadar | Paris 1878 | 6 x 10.50 cm | une photographie
1867003294Alphonse Lemerre, Libraire-Editeur. in-8 ( 19,1 x 11,8 cm), 3 ff., 234 pp., 1 ff.(achevé d'imprimer), 4 ff. (catalogue de la Librairie Lemerre), maroquin rouge novembre , dos orné d'entrelacs, pièce de titre maroquin vert, encadrement triple filet or sur les plats, double filet de coupes, dentelle intérieure, tête dorée, non rogné, couverture et dos conservés (reliure signée Stroobants). Edition originale, imprimée le vingt novembre mil huit cent soixante-six. Portrait de l'auteur en frontispice par Alfred Dehodencq qui donna ses premiers cours de peinture à Roger Rochegrosse, fils adoptif de Théodore de Banville qui lui a dédié un poème dans le présent recueil. Un des dix (n°10) exemplaires imprimés sur papier de Chine, numérotés et paraphés par l'éditeur). Frontispice de l'édition originale des Poésies 1857, Poulet Malassis et de Broise ajouté, ainsi que deux lettres autographes de l'auteur adressées à son ami Etienne Carjat (1828-1906), journaliste, caricaturiste, photographe (auteur de la photo universellement connue d'Arthur Rimbaud). Ex-libris du Cabinet du baron de Fleury. (à vendre uniquement en France - not for sale or send out of France).
18519023Journaliste républicain. Issoire 1811- Méry-sur-Oise 1884. Aquarelle, gouache sur papier brun, titré en bas au centr et signé de l'initiale sur la droite. Panthéon Nadar 74. Voir le n° 5 de la vente à Drouot du 3/12/2004. Un dessin proche mais non gouaché, se trouve à La B.N. dont on sait qu'elle avait acquis nombre de dessins définitifs ou préparatoires au Panthéon Nadar. Ces trois dessins sont tous signés de Nadar qui semble avoir accordé une grande importance à ce personnage. Sous chemise fermée. Cette chemise ancienne porte le n° 10 : probablement de la vente du banquier Millaud vers 1865. Très bon Paris 1851/57 24 x 15,8 cm
1880163581880 toile grise éditeur (haut du Ier plat un peu passé) in-4, 13 portraits sur cartons imprimés et légendés, montés sur onglets, P. Revue Illustrée (ca. 1880)
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
18519009Gustave Le Vavasseur. Poète né à Argentan (Orne), ami de Baudelaire. 1819-1896. Dessin au fusain et à l'estompe rehaussé de gouache sur papier brun. L'initiale N qui est la signature de Nadar pour ces caricatures, se trouve en bas à gauche mais a étét incluse dans le titre de l'œuvre par Nadar lui-même. Panthéon Nadar 246. Très proche du n° 162 de la vente à Drouot du 3/12/2004. Ne se trouve pas à La B.N. dont on sait qu'elle avait acquis nombre de dessins définitifs ou préparatoires au Panthéon Nadar. Sous chemise fermée. Cette chemise ancienne porte le n° 2 : probablement de la vente du banquier Millaud vers 1865. Très bon Paris 1851/57 19 x 15,5 cm
18519025Chanteur et compositeur. Paris 1819-1883. Aquarelle, gouache sur papier brun, titré en bas à gauche et signé de l'initiale sur la droite. Panthéon Nadar ?. Voir le n° 62 de la vente à Drouot du 3/12/2004. Un dessin proche se trouve à La B.N. dont on sait qu'elle avait acquis nombre de dessins définitifs ou préparatoires au Panthéon Nadar. Sous chemise fermée. Cette chemise ancienne porte le n° 55 : probablement de la vente du banquier Millaud vers 1865. Très bon Paris 1851/57 23,2 x 15,6 cm
189370792Office général de Photographie | Paris Janvier-Décembre 1893 | 18.50 x 27 cm | 12 fascicules brochés
18519020Journaliste (pseudonyme de Frédéric Bernard). Seurre 1820-Nice 1868. Dessin au fusain et à l'estompe rehaussé de gouache sur papier brun, titré en bas à gauche et signé de l'initiale en bas à droite. Panthéon Nadar ? Un dessin proche non signé, se trouve à La B.N. dont on sait qu'elle avait acquis nombre de dessins définitifs ou préparatoires au Panthéon Nadar. Sous chemise fermée. Cette chemise ancienne porte le n° 20 : probablement de la vente du banquier Millaud vers 1865. Très bon Paris 1851/57 22,7 x 15,3 cm
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
