WORMS Gustave Photo Nadar.Livre Rare Book
882 résultats
190053357Couverture souple. Photographie 4 x 7, 5 cm. Notice biographique collée au dos.
190050947- Photographie 4 x 7, 5 cm. Notice biographique collée au dos.
186274488Nadar | Paris 1862 | 5.10 x 8.50 cm | une photographie
13779Photographie originale d'un format exceptionnellement grand (44 x 35 cm), sur papier albuminé avec importants rehauts de gouache marron dans les cheveux, la robe, les chaussures et dans le décor, contrecollée sur carton, papier bleu collé au verso.Tirage viré au sépia, taches de gouache sur le visage de l'enfant, traces de montage ancien au verso
2337Épreuve tirée sur papier albuminé de format 14.6 x 10.3 cm, montée sur le carton préimprimé du photographe Nadar rue d'Anjou St-Honoré à Paris, au format cabinet (16.4 x 10.8 cm). Au verso, mention imprimée en rouge : « Médaille d'or Exposition Universelle 1878. Nadar, Paris » aussi, cachet du photographe J. Kuhn de Paris, ainsi que la signature de Sarah Bernhardt à l'encre noire. Très bel état.
2609photographie portrait originale. Nadar rue d'Anjou St Honoré N° 31. Hôtel privé.
148780GONCOURT Edmond de. Portrait for La Galerie Contemporaine by Nadar. Woodburytype print with artist's information printed on mount matted and framed in polished dark wood. Paris: Nadar ND. A visually arresting portrait of Edmond de Goncourt by famed portrait photographer Nadar Gaspard-Felix Tournachon 1820-1910. "Nadar's notoriety in photography came after successful careers first in writing and publishing and then in caricature. Nadar's turn to portrait photography appears to be a natural progression from his work in caricature." "Galerie Contemporaine stands out due to its ambitious scope as well as for the quality of the photographic imagery it contained. Underpinned by a certain patriotic sentiment and a more sophisticated approach to celebrity the subtitle Litteraire Artistique declares the work's focus of interest to be high art. In fact Galerie Contemporaine evolved into the most impressive set of celebrity portraits published in nineteenth-century France forming a vital visual record of the leading figures who shaped public life in science and politics as well as the arts during the Second Empire and the emergent Third Republic." Hannavy John editor. Encyclopedia of Nineteenth-century Photography p. 971 and 567. unknown books
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
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
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
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
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
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
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
1979113298Artur Hubschmid 1979. Hardcover. Very good/Good. In French. Two volumes of Nadar's photography drawings and writings. Covers sunned along edges. Jackets edgeworn and chipped. Artur Hubschmid hardcover
148780GONCOURT Edmond de. Portrait for La Galerie Contemporaine by Nadar. Woodburytype print with artist's information printed on mount matted and framed in polished dark wood. Paris: Nadar ND. A visually arresting portrait of Edmond de Goncourt by famed portrait photographer Nadar Gaspard-Felix Tournachon 1820-1910. "Nadar's notoriety in photography came after successful careers first in writing and publishing and then in caricature. Nadar's turn to portrait photography appears to be a natural progression from his work in caricature." "Galerie Contemporaine stands out due to its ambitious scope as well as for the quality of the photographic imagery it contained. Underpinned by a certain patriotic sentiment and a more sophisticated approach to celebrity the subtitle Litteraire Artistique declares the work's focus of interest to be high art. In fact Galerie Contemporaine evolved into the most impressive set of celebrity portraits published in nineteenth-century France forming a vital visual record of the leading figures who shaped public life in science and politics as well as the arts during the Second Empire and the emergent Third Republic." Hannavy John editor. Encyclopedia of Nineteenth-century Photography p. 971 and 567. 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
1983ABE-168609355229064 PAGES-IN 4-(EM323)
185031934Librairie Marescq ; Philipon fils, sd 1850 5 volumes in-8, demi-chagrin, dos à nerfs, caissons à froid, roulettes dorées, ca 150- 200 ff. chacun de dessins en noir lég. Dos passé, usures et frottements. Quelques rousseurs éparses.
7358Chez léditeur du journal pour rire XIXe
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 books
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 books
113252[Paris, 1869-circa 1872], 2 volumes grand in-4 de 210x300 mm environ comprenant les numéros 1 à 200. Demi-chagrin vert, dos à cinq nerfs portant titres dorés, gardes de papier marbré. Des frottements sur le cuir, discrètes griffures sur les plats, rares rousseurs, bon état général.
113251[Paris,1856-circa 1865], 5 volumes grand in-4 de 210x300 mm environ comprenant les numéros 1 à 501. Demi-chagrin vert, dos à cinq nerfs portant titres dorés, gardes de papier marbré. Des frottements sur le cuir et discrètes griffures sur les plats, des rousseurs, quelques passages crayonnés au tome 1, une garde restaurée au tome 4, sinon bon état général.
1434Paris, sans date, (vers 1870-71) ; 1 vol. in-4, du N° 110 au N° 225. Demi percaline brune, dos lisse coiffes frottées. Pas de rousseurs, seule la première page présente quelques pliures, l'exemplaire est en bon état.
