127 résultats
18431167<p>1843. Lithograph. L. Delteil 107 after the third state with letters in face. From the series of 16 illustrations for Hamlet. Image: 9 x 8. Margins: 21¾ x 14.</p> Villain
1858003173Paris Schulz et Thuillié 1858 In-12 Demi-reliure Edition originale
18301301830. Etching drypoint and roulette on watermarked Hallines cream laid paper 3 3/4 x 5 7/8 inches 95 x 148 mm full margins. A very good impression of this charming image with all of the fine lines printing clearly. Plate is inky and well-wiped. Scattered light surface soiling age tone and mat tone. Several scattered spots of foxing all outside of image area. Issued 1908 as the frontispiece in Le Peintre-Graveur Illustre third volume: Ingres and Delacriox. Sixth state of 6. <br /> <br /> Delteil 12. unknown
1818670091 vol. in-8 reliure de l'époque pleine basane raciné, dos lisse orné : [ Recueil de notices biographiques :] Notice sur Gerbier, tirée de la Biographie Universelle, s.l.n.d., 7 pp. [ Suivi de : ] Notice biographique sur le Général La Fayette, Baudouin Frères, Paris, 1818, 11 pp. [ Suivi de : ] Notice Biographique sur le Général Carnot, Chez l'Editeur, De l'Imprimerie de Plassan, Paris, 1818, 8 pp. [ Suivi de : ] Hommage à la Mémoire de Jean-François Lesparat, Doyen des Avocats de Paris, De l'Imprimerie de Hocquet, s.d., 7 pp. [ Suivi de : ] Discours sur la Vie et les Ouvrages de Henri Cochin, Avocat au Parlement de Paris, faisant introduction à la nouvelle édition de ses Oeuvres, par M. Cochin, Chez l'Editeur, Paris, 1821, 30 pp. [ Suivi de : ] Notice historique et biographique ou Eloge de Mgr Poerre-Marie Rouph de Varicourt, Evêque d'Orléans, par Boscheron-Desportes, Chez Pillet et Colnet, Paris, et Chez Monceau, Orléans, 1823, 46 pp. [ Dédicacé par l'auteur ] [ Suivi de : ] Notice sur Garat, Professeur de la classe de perfectionnement du chant au Conservatoire de Musique, Extrait de la Revue Encyclopédique, juillet 1823, 15 pp. [ Suivi de : ] Précis de la Vie de M. Lieudé, Baron de Sepmanville [...] avec des détails sur Henri IV, la Pyramide d'Ivry, et sur les événemens arrivés à Versailles en 1814 et 1815 par M. Auguste Cazdy (du Calvados), De l'Imprimerie de la Préfecture, chez I. Jacob, A Versailles, Avril 1817, 108 pp. [ Livre dédicacé par l'auteur à M. Bellart, Conseiller d'Etat, Procureur général, député ] [ Suivi de : ] Eloge de Mr Turpin, Chevalier de l'Ordre royal de la Légion d'Honneur, Juges au Tribunal de première instance de Châlons [... ] Lu le 26 août 1817 à la Séance Publique de la Société d'Agriculture, Commerce, Sciences et Arts du Département de la Marne par Mr Gobet, De l'Imprimerie de Boniez-Lambert, Châlons, 1817, 22 pp. [ Suivi de : ] Notice sur la vie et les ouvrages de feu M. Bayeux, Avocat au Parlement de Normandie, par Georges Bayeux son fils, An XII - 1803, 37 pp. [ Suivi de : ] Mémoire du Général Sarrazin, détenu à la Conciergerie comme prévenu de Bigamie, De l'Imprimerie de J.-L. Chanson, 16 pp. [ Suivi de : ] Le Modèle des Pasteurs, ou Eloge historique et philosophique de M. Foussat, Curé de la Paroisse de Marquay, près de Sarlat, en Périgord, département de la Dordogne, Lottin de Saint-Germain, Paris, 1823, 63 pp. [ Suivi de : ] Hommage Funèbre à la Mémoire du Marquis de Villaret, Maréchal-de-Camp, Commandeur de l'Ordre Royal de Saint-Louis, De l'Imprimerie de G.-C. Vitry, Versailles, 1824, 8 pp., par Delacroix [ Suivi de : ] Conduite Politique et Services Militaires de M. Félix-Gaspard Cte de Thieffries-Beauvois, des Empires d'Autriche et d'Allemagne, ancien chevalierde Saint Louis, Officier Supérieur en retraite, De l'Imprimerie Anthe Boucher, Paris, 1825, 76 pp. [ Suivi de : ] Considérations succinctes, politiques et militaires, sur les premières campagnes ; pland'une nouvelle coalition contre le gouvernement français, son état actuel envers les monarchies ; Mémoire remis à Monsieur le Prince de Reuss en 1798, pour être adressé à M. de Thugut, Ministre de l'Empereur. Par M. Félix-Gaspard Cte de Thieffries-Beauvois, De l'Imprimerie Anthe Boucher, Paris, 1825, 91 pp. [ Suivi de : ] Notice sur Lépidor et sur Leroy de Saint-Valery, par Dupin jeune, avocat, Imprimerie de Migneret, s.d., 15 pp. [ Suivi de : ] Société des Bonnes Etudes. Eloge Funèbre de Pierre-Louis-Henri Doray, de Rouen, Bachelier ès-lettres, Etudiant de seconde année à la Faculté de Droit de Paris, prononcé par l'un de ses amis sur sa tombe, au cimetière du Père Lachaise, à Paris, le 3 février 1825, Imprimerie de Firmin-Didot, Paris, s.d. 4 pp.
1843108791843 Paris, L. Curmer, 1843-1844, reliés en 2 vol. in-4, demi-chagrin noir dos à faux-nerfs,tres ornés ; (4)-486, (4)-444 pp.,illustré de 55 +56 planches originales ht ,gravures,eaux fortes,lithographies la plus part sur chine collé,par Gavarni,Isabey,Descamps,Dupré,Calame ,Daubigny,Français etc, texte à 2 colonnes,frais ,textes par les plus grands ecrivains de l'epoques,ornés de vignettes romantiques,
185884082Pierre Petit | Paris 1858 | 6 x 10.40 cm | une feuille
186071194Carjat et Cie | Paris s. d. [circa 1860] | 6 x 10.30 cm | une photographie
185884082Paris: Pierre Petit 1858. Fine. Pierre Petit Paris 1858 6 x 10.40 cm une feuille An original albumen carte-de-visite photograph of Eugène Delacroix depicting the artist seated in a chair his most famous portrait. The session at Pierre Petits studio yielded multiple poses; variants of this print survive at the Musée dOrsay and the Metropolitan Museum of Art New York. Mounted on card with Pierre Petits signature in the lower margin and his studio advertisement on the verso. Pierre Petit unknown
186078831Carjat et Cie | Paris s. d. [circa 1860] | 6 x 10.30 cm | une photographie
186071194Paris: Carjat et Cie 1860. Fine. Carjat et Cie Paris s. d. circa 1860 6 x 10.30 cm une photographie Photographic portrait of Eugène Delacroix Carjat et Cie Paris n.d. circa 1860 6 x 10.3 cm photograph Original photograph on albumin paper in a visiting-card format laid down on card. Foxing. Very rare copy of this photograph only found at Carnavalet Louvre and Orsay museums. Carjat et Cie unknown
186514621Paris: Published by A. Cadart et Luquet 79 rue de Richelieu 1865. Etching. Printed on watermarked aqua-fortistes laid paper. State i/iii before letters with artist's name and date engraved in the upper left corner of plate. Monogram in upper right corner of plate. Full sheet in excellent condition. Image size: 7 7/8 x 6 1/6inches. This stunning image is a rich proof impression of Delacroix's famous print "Juive d'Alger."<br/> <br/>In early 1832 Delacroix visited North Africa. He accompanied his friend the Count de Mornay on his good-will mission to the Sultan of Morocco Abd-er-Rahman II. This experience had a drastic influence on his art introducing an edge of brilliant realism into his majestic paintings and bold engravings. He filled countless sketchbooks with drawings and observations of Arab life and gathered a wealth of ideas that served him for the rest of his life. This sumptuous etching is inspired by Delacroix's travels in North Africa and is considered one of his greatest prints. Assigned to the delegation as dragoman was Abraham-Ben-Chimol of Tangiers a Jew who introduced Delacroix to his wife and daughter. Delacroix was greatly influenced by this encounter and he did a number of images depicting young Jewish women in simple interiors. This breathtaking image depicts a young Jewish woman in traditional dress seated in a simple room; she is accompanied by an Algerian woman who is seated on the floor beside her. The leader of the French Romantic movement Delacroix is widely considered to be one of the greatest French painters in history but he is also one the most hailed printmakers of the modern age. The simple lines and bold textures of this monumental print delineate Delacroix's genius and distinguish him as a true master of his art. This is an exceptional early impression of this important print executed before the published title and publication details were added. Included in one of the first collections of the Society de Aqua-Fortistes publications by Cadart this print is extremely rare in this early state. With its rich dark tones and fresh details this is a magnificent example of Delacroix's work and a true collector's item. Between 1862 and 1866 the Societe des Aqua-Fortistes produced a five-volume collection of artists' etchings entitled "Euax-Fortes Modernes." Printed on laid paper made especially for the series this outstanding collection is one of the seminal publications to spring out of the etching revival in France. The Societe des Aqua-Fortistes was the French equivalent of the Etching Club in England and similarly it aimed to produce a collection of high quality etchings by the leading artists of the period. Like the Etching Club the Societe des Aqua-Fortistes sought to raise the prestige of the medium from a reproductive technique to a fine art. Although the etching revival began somewhat earlier in England the French movement exerted a far greater influence on the medium and included a wider range of prominent artists. The Barbizon painters were among the earliest French artists to participate in the etching revival and their superb prints helped raise the medium to new heights of genius. This unique publication which included works by Manet Corot and Delacroix is an outstanding example of fine art printing at its best<br/> <br/>Delteil Le Peintre-Gravure Illustre vol. III no. 18 i/iii; Beraldi Les Gravures du XIXe Siecle Guide de l'Amateur d'Estampes Modernes vol. V p. 158 i/ii. Benezit Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs; Biographical information has been taken from the website of the National Gallery in Washington and The Metropolitan Museum in New York. Published by A. Cadart et Luquet, 79, rue de Richelieu unknown books
186514621Paris: Published by A. Cadart et Luquet 79 rue de Richelieu 1865. Etching. Printed on watermarked aqua-fortistes laid paper. State i/iii before letters with artist's name and date engraved in the upper left corner of plate. Monogram in upper right corner of plate. Full sheet in excellent condition. Image size: 7 7/8 x 6 1/6 inches. This stunning image is a rich proof impression of Delacroix's famous print "Juive d'Alger."<br/> <br/> In early 1832 Delacroix visited North Africa. He accompanied his friend the Count de Mornay on his good-will mission to the Sultan of Morocco Abd-er-Rahman II. This experience had a drastic influence on his art introducing an edge of brilliant realism into his majestic paintings and bold engravings. He filled countless sketchbooks with drawings and observations of Arab life and gathered a wealth of ideas that served him for the rest of his life. This sumptuous etching is inspired by Delacroix's travels in North Africa and is considered one of his greatest prints. Assigned to the delegation as dragoman was Abraham-Ben-Chimol of Tangiers a Jew who introduced Delacroix to his wife Saada and daughter. Delacroix was greatly influenced by this encounter and he did a number of images depicting young Jewish women in simple interiors. This breathtaking image depicts a young Jewish woman in traditional dress seated in a simple room; she is accompanied by an Algerian woman who is seated on the floor beside her. The leader of the French Romantic movement Delacroix is widely considered to be one of the greatest French painters in history but he is also one the most hailed printmakers of the modern age. The simple lines and bold textures of this monumental print delineate Delacroix's genius and distinguish him as a true master of his art. This is an exceptional early impression of this important print executed before the published title and publication details were added. Included in one of the first collections of the Society de Aqua-Fortistes publications by Cadart this print is extremely rare in this early state. With its rich dark tones and fresh details this is a magnificent example of Delacroix's work and a true collector's item. Between 1862 and 1866 the Societe des Aqua-Fortistes produced a five-volume collection of artists' etchings entitled "Eaux-Fortes Modernes." Printed on laid paper made especially for the series this outstanding collection is one of the seminal publications to spring out of the etching revival in France. The Societe des Aqua-Fortistes was the French equivalent of the Etching Club in England and similarly it aimed to produce a collection of high quality etchings by the leading artists of the period. Like the Etching Club the Societe des Aqua-Fortistes sought to raise the prestige of the medium from a reproductive technique to a fine art. Although the etching revival began somewhat earlier in England the French movement exerted a far greater influence on the medium and included a wider range of prominent artists. The Barbizon painters were among the earliest French artists to participate in the etching revival and their superb prints helped raise the medium to new heights of genius. This unique publication which included works by Manet Corot and Delacroix is an outstanding example of fine art printing at its best<br/> <br/> Delteil Le Peintre-Gravure Illustre vol. III no. 18 i/iii; Beraldi Les Gravures du XIXe Siecle Guide de l'Amateur d'Estampes Modernes vol. V p. 158 i/ii. Benezit Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs; Biographical information has been taken from the website of the National Gallery in Washington and The Metropolitan Museum in New York. Published by A. Cadart et Luquet, 79, rue de Richelieu unknown
1863Dela1<p><b>DELACROIX Eugène 1798-1863</b></p><p>Autograph letter signed <i>" E Delacroix "</i> to an unknown recipientParis 6 rue de Fürstenberg 15 July 18631 page in-8 on double sheet.Fold marks some light stains.</p><p><b>Moving letter from Delacroix one of his very last ones less than a month before his passing</b></p><p><b><br /></b></p><p><i>"Monsieur <b>Je garde la chambre et suis dans l'impossibilité de sortir.</b> Je désirerais que vous ayez la bonté de faire suivant l'usage un certificat de vie qui dans ces occasions demandent je crois votre intervention particulière. C'est une rente sur la national. Ayez monsieur les assurances de ma considération la plus distinguée. E Delacroix"</i></p><p><i><br /></i></p><p><i><br /></i></p><p>Delacroix's health had considerably deteriorated at the beginning of July 1863 evidenced here by an unprecise writing. The following week he would confess to his long term friend George Sand "<i>Writing is for me unbearable</i>" . He would pass away on August 13th 1863.</p><p>This letter is not published in the general correspondence by Joubin.</p>
186078831Paris: Carjat et Cie 1860. Fine. Carjat et Cie Paris s. d. circa 1860 6 x 10.30 cm une photographie Photographic portrait of Eugène Delacroix Carjat et Cie Paris ca 1860 6 x 103 cm one photograph Original photograph on albumen paper in carte de visite format mounted on a board. Some small foxing. Rare copy of this photograph only found at Carnavalet Louvre and Orsay museums. Carjat et Cie unknown
18854425Paris, Charavay frères, 1885. In-4 de LXII-538-[4] pages. Reliure en plein maroquin bleu d’eau, dos à nerfs orné de caissons décorés d’un bouquet de fleurs dorées; filets, roulettes encadrant les plats, décorés du même bouquet doré, oiseaux, fleurons dorés, filets sur les coupes, roulette et filets dorés intérieurs, tranches dorées. Parfaitement établi dans une reliure de Pagnant.
185086760Champrosay s. d. [1840-1860] | 13.50 x 20.10 cm | une page sur un feuillet remplié
185086760Champrosay 1850. Fine. I am madly in love with these innocent and beautiful trees while human nature on the other hand falls every day in my esteem. Champrosay s. d. 1840-1860 13.50 x 20.10 cm une page sur un feuillet remplié Autograph letter signed by the painter Eugène Delacroix to his friend Baron Félix Feuillet de Conches master of protocol at the Ministry of Foreign Affairs under Charles X and Louis-Philippe. One page in black ink on a folded sheet with the autograph address on the verso. Traces of seal and postal stamps dated October 7. The painter writes to his friend Feuillet de Conches a distinguished man of letters whose works were well received and who also amassed an elegant collection of art and autographs in his apartment on the rue Neuve-des-Mathurins the address of this very letter. A charming and witty missive in which Delacroix expresses his enchantment with country life far removed from the bustle of Paris. ""From the summer of 1844 Eugène Delacroix settled at Champrosay on the edge of the Sénart forest near Paris. There he recorded in his journal the impressions inspired by his regular walks through the countryside. He produced numerous sketches later reworked into his large compositions as well as more ambitious landscapes that reveal how in his mature and later years the observation of nature now contemplated for its own sake had become central to his art."" MuMa ""I reply to you late dear Feuillet but you will forgive me: I promise you a Gros very happy to add it to the collection. I pity you for living far from the fields. If we were still in the time of Ovids Metamorphoses I might believe myself in danger of one day being turned into a tree. I am mad about these innocent and beautiful trees while human nature on the other hand loses each day in my esteem. I except of course friends like you and the few who retain a little reason.I embrace you while awaiting this winterEug. Delacroix."" unknown
1842Sand29<p><strong>DELACROIX SAND George 1804-1876</strong></p><p><u>Two autograph letters</u> signed " GS " to Eugène Delacroix<br />Nohant 6 & 7 July 1842 3 p. in-8° in total in black ink<br />Autograph addresses on verso<br />Stamp marks previous trace of mounting</p><p><strong>Saddened by the departure of her "good little" Delacroix after the latter's stay in Nohant in the company of Chopin and the rest of the Sand family the writer found herself immersed in her reading of <em>Les Mystères de Paris</em></strong></p><p><strong><u>From the Marc Loliée library</u></strong></p><p><em>" <strong>Cher bon petit</strong> J'espère que vous êtes arrivé à bon port sans trop souffrir de la chaleur qui a été modérée le jour de votre départ. Vous avez oublié ici quelques effets dont Maurice a fait une caisse laquelle part aujourd'hui. Comme le port en est payé accusez-en réception afin qu'elle ne s'égare pas sans que nous la fassions réclamer. J'ai encore retrouvé dans mes mouchoirs un mouchoir à vous. Je vous le mets à part ainsi que ceux qui pourraient se retrouver au prochain blanchissage. <strong>Que Jenny</strong></em> la gouvernante de Delacroix <strong><em>ne nous accuse donc pas de vous avoir grinché vos zardes</em></strong>¹<em>. – <strong>Je lis le Chourineur et je vous assure que malgré l'horreur du sujet et des détails</strong></em>²<strong><em> c'est jusqu'à présent fort intéressant et fabriqué avec beaucoup de talent</em></strong><em>. – <strong>Nous sommes restés tout tristes et tout déconfits de votre départ</strong>. Nous tâchons de jouer au billard mais je crois que vous avez emporté le carambouillage</em>³<em> dans votre poche et que vous ne nous avez laissé que le manque de touche. J'attends avec impatience un petit mot de vous. <strong>Nous sommes encore trop chagrins pour vous en dire long aujourd'hui</strong>. Et puis l'heure me presse. À présent cher soyez bien portant. Si vous nous regrettez autant que nous vous regrettons faites un effort pour nous oublier jusqu'à notre retour </em>Sand et Chopin rentreront à Paris le 31 juillet<em> alors vous nous raimerez de nouveau. <strong>Adieu moi et tous vous embrassons et vous aimons</strong>.<br />GS. "</em></p><p><em>" Cher ami mon dadet </em>sic <em>de Thomas </em>peut-être Thomas Aucante autrefois vacher<em> a commencé le cours de bêtises auxquelles je dois m'attendre en ne payant pas le port de la caisse que je vous ai envoyée hier. Si bien qu'il faut que vous le sachiez afin de n'avoir pas de contestation avec l'administration. Accusez-moi réception car tout ceci a été fort mal fait malgré mes précautions.<br />Nous nous portons bien. <strong>Nous vous aimons. J'ai rêvé de vous toute la nuit</strong> ; j'espère que c'est bon signe et que vous êtes bien portant.<br />À vous<br />GS. "</em></p><p>In response to his friend's repeated invitations Delacroix spent nearly two weeks in Nohant in June 1842. He wanted above all to rest "vegetate" as he put it and enjoy the pleasures of the countryside. Back in Paris he replied on the 8th stating that he had received the crate and calling the person who had brought it to him a cheat and an imposter demanding postage. He asked his friend for a small purse left in Nohant a purse that Solange had given him and a small cord from Algiers. He concluded: "The weather is awful for the nerves. When you dreamed that you saw me did you dream that you were the Duchess of Berry I send you all my sincere embraces but I am very sad" Corr. gén. de Delacroix t. II p. 116.</p><p>Using the slang present in Eugène Sue's work we understand that Sand is here in the middle of reading The Mysteries of Paris. The serial novel published in the Journal des débats from June 19 1842 to October 15 1843 inaugurated mass literature in the 19th century and earned its author immense fame in all social classes.</p><p><u>Provenance:<br /></u>Bibliothèque Marc Loliée<br /><u><br />Bibliography:<br /></u><em>Correspondance</em> t. V éd. G. Lubin Garnier n°2477 & 2478</p>
1841Sand14<p><strong>DELACROIX SAND George 1804-1876</strong></p><p>Autograph letter signed " G.S. " to Eugène Delacroix<br />Paris Postal mark 23rd December 1841 1 p. 1/2 in-8°<br />Autograph address on fourth folio wax seal : " Monsieur Delacroix rue des Marais Saint Germain 17 "</p><p><strong>Superb letter to her friend Delacroix about her desire to write "a few pages on painting" the <em>Femmes d'Alger</em> her contempt for the <em>Ingresque</em> school and other artistic news</strong></p><p><em>" Vous avez bien fait cher ami de ne pas venir à l'Opéra. <strong>C'était ennuyeux à crever malgré la beauté et la pompe du spectacle.</strong> J'espère que vos truffes vous auront donné de meilleures inspirations musicales que la reine de Chypre n'en a donné à Mr Halevy.1</em><br /><strong><em>Venez ce soir comme vous me l'avez promis. J'ai à vous parler sur des matières artistiques !!!</em></strong> le mot est entouré par Sand d'un triple trait de plume.<strong><em> Sans plaisanterie j'écris quelques pages sur la peinture et j'ai besoin de vous pour savoir si je ne déraisonne pas. </em></strong><em>2</em><br /><em>Bonjour et bonne nuit. Il est 6h du matin. Vous devriez venir dîner avec nous. Nous avons embelli notre existence d'un pot-au-feu quotidien et avec le dîner de l'anglais3 et du bon café c'est supportable.</em><br /><em>G.S.</em><br /><strong><em>La Lélia</em></strong><em>4<strong>avec son moine et son mort me frappe et me plaît de plus en plus c'est ce qui m'a mise en veine d'écrire sur la couleur et ce qu'il faut entendre par la forme. Avec ça j'ai vu vos femmes d'Alger</strong>5 ce matin. Si vous m'encouragez je suis capable de faire le prochain salon dans notre revue</em> La Revue indépendante<em> et <strong>vous savez que je ne caponnerai pas</strong></em> ne se montrera pas lâche <strong><em>avec tout cette école silhouettiste</em></strong><em>6<strong> qui se dit en possession du dessin</strong> ".</em></p><p>1 <em>La Reine de Chypre</em> an opera in five acts by Halévy to a libretto by St. George took place the day before December 22 1841. Unlike George Sand Richard Wagner who was also present at the premiere considered the music "noble moved and even new and exhilarating" although he criticized Halévy's failings in simple orchestration.<br />2 In Horace which George Sand was then writing she staged a rapin a pupil of Delacroix but there were no "few pages on painting". Is this an article intended for the Independent Review – which it has just created – but which it has renounced The word written in postscript confirms that it is an aesthetic reflection that focuses on "color" and "form".<br />3 Possible reference to an English restaurateur or caterer frequented by George Sand.<br />4 <em>Lélia avec son moine et son mort</em> is the third work offered by Delacroix to George Sand for the gifts of 1842. It is a pastel depicting Lélia kneeling near Stenio's corpse while the monk Magnus "in the shadows leaning stiffly against the wall of the cave darted on her his sparkling eyes". The subject was treated several times by Delacroix.<br />5 This is the <em>Femmes d'Alger dans leur appartement</em> a painting presented at the Salon of 1834 where it caused a sensation. A synthesis of orientalism and romanticism this painting expresses a deep "melancholy" for the poet and art critic Baudelaire.<br />6 George Sand refers to the school of Ingres as a "Silhouettist school". We know the adversity between the two painters that animated the artistic scene of the nineteenth century. The writer had resolutely taken Delacroix's side that of "form" and "color".</p><p><u>Bibliography:</u><br /><em>George Sand</em> – Correspondance t. V Lubin Garnier p. 529-531 lettre n°2369<br /><em>Correspondance</em> éd. Françoise Alexandre Les éditions de l'Amateur p. 117-118 n°50</p><p><u>Provenance:</u><br />Achille Piron Delacroix's universal legatee<br />Bibliothèque Marc Loliée</p>
1895Degas4<p><strong>DELACROIX DEGAS Edgar 1834-1917</strong></p><p>Autograph letter signed <em>"Degas"</em> to collector Montagnac<br />Np 27 June 1895 2 pages in-8 oblong on laid paper in bespoke leather sleeve.<br />Fold marks previous and discreet tape repair on verso</p><p><strong>Degas collector acquires a painting by Delacroix in exchange for three of his pastels of dancers as currency</strong></p><p><em>" Cher Monsieur Montagnac<br />Je reçois votre lettre ce matin et le tableau </em>de Delacroix <em>arrive à 2h. Donc il est convenu que je vous achète ce portrait du baron Schwiter douze mille francs et que <strong>je vous paie ainsi : trois pastels de moi.</strong> Je transcris votre lettre du reste j'y copie : <strong>Deux de ces pastels représenteront des groupes de danseuses et le troisième une ou deux blanchisseuses. Pour ce dernier je me réserve la faculté de les remplacer par des danseuses si ça m'allait mieux</strong>.<br />Si vous pouvez me dites-vous me livrer un de ces pastels d'ici un ou deux mois vous me feriez le plus grand plaisir. Vous ajoutez : Il est entendu que les 3 pastels seront terminés pour l'hiver prochain. Tout cela est bien et j'y souscris.<br />Au revoir cher Monsieur et recevez mes remercîments.<br />Degas "</em></p><p>A shrewd collector Degas had assembled a remarkable collection of paintings from the Renaissance to Romanticism including Greco Ingres Courbet Delacroix etc. Of the latter of which he owned thirteen paintings it is the portrait of Baron Schwiter that is here the object of his lusts.<br />This full-length portrait of Baron Louis de Schwiter 1805-1889 an important collector and familiar of Delacroix was painted in 1827. Refused by the jury of the Salon the same year it is now kept at the National Gallery in London which had acquired it during the dispersal of Degas' property after his passing in 1917.</p><p><u>Provenance:</u><br />Bibliothèque Bernard Loliée</p>
184077055Léon Curmer | Paris 1840-1842 | 18 x 26.50 cm | 11 volumes reliés
184077055Paris: Léon Curmer 1840. Fine. Léon Curmer Paris 1840-1842 18 x 26.50 cm 11 volumes reliés Les Français peints par eux-mêmes. Encyclopédie morale du dix-neuvième siècle Le Prisme with Les Anglais peints par eux-mêmes The French painted by themselves The English painted by themselves Léon Curmer Paris 1840-1842 18 x 265 cm 11 volumes in half morocco First edition one of the grand papier deluxe copies with two states of the illustrations for the 8 volumes of Les Français peints par eux-mêmes: one in black on tinted paper and one enhanced by hand using the so-called coloris gommé technique with watercolour and varnish on white paper. Les Anglais peints par eux-mêmes includes the engravings in black. No deluxe copies in colour have been made for this rare set of Les Français. Bound in half brown morocco spine in five compartments enhanced with stipple engraving and double gilt panels richly decorated with gilt floral motifs framing a mosaic medallion of green morocco with a gilt rose stamped in the center cartouches at the top decorated with a gilt garland framing the place and publication date some light minor rubbing on some compartments gilt fillets on the marbled paper boards comb-patterned endpapers top edges gilt. Elegant late nineteenth century bindings signed Durvand-Thiret. Complete with all engravings along with added engravings i.e. 930 engravings including 415 in colour. Title pages dated 1841 for all volumes of Les Français except for volume 5 of Les Parisiens and volume 3 of La Province dated 1842. Les Français peints par eux-mêmes has 415 engravings in black including that of Napoleon on horseback instead of the 405 announced and 415 in colour including a double page map of France in volume III of the Province. The English volume illustrated by Kenny Meadous is complete with 100 plates in black. This unique set contains in total almost a thousand black and coloured engravings and more than 1500 in-text illustrations. Famous gallery of woodcut portraits depicting the social classes of the 19th century by the greatest artists of the time: Gavarni Daumier Delacroix Grandville Johannot Bellangé Charlet Daubigny etc. The portraits are all accompanied by original texts from the most famous Romantic authors including: Balzac Nodier Gautier Nerval Gozlan Janin Karr etc. Scarce foxing affecting mainly the Prism and the Anglais. The texts and illustrations of the book paint a lively picture of inhabitants and their trade in metropolitan France and its colonies. It sets the tone for panoramic literature a new genre coined by Walter Benjamin in Charles Baudelaire. A lyric poet at the height of capitalism. In addition to these portraits of the Français the contribution of a whole areopagus of great and small authors and illustrators S. Le Men La 'littérature panoramique' dans la genèse de la Comédie Humaine: Balzac et Les Français peints par eux-mêmes L'Année balzacienne 2002/1 No. 3 CAIRN includes some of the most renowned authors and cartoonists of the time each of whom made an original creation for the project. This protean fresco was directed by editor Léon Curmer already known for the publishing success of Paul et Virginie between 1836 and 1838. Curmer is represented here by an article L'éditeur in volume IV written by Elias Regnault. The latter takes example in Louis-Sebastien Mercier's Tableau de Paris published in 1781 whose vision is even further extended by the representation of French provinces in Les Français. Thanks to Curmer the work finds an even deeper meaning: the editor has widened his frame and instead of letting a few fleeting portraits get lost in the immense daily whirlwind that engulfs all things he has sought to bring together the most salient physiognomies of that time. S. Le Men Ibid. Curmer selected the authors and illustrators closest to the ones they depict: It is therefore a question of calling upon authors and illustrators who are wel Léon Curmer hardcover
184348704Paris.: Chez Gihaut Frères. 1843. Loose as issued with the original front and rear wrappers housed in modern box; wrappers torn with tape repair; occasional foxing to some plates mainly in the margins damp-staining affecting the upper margin only of one plate a small stain on the far right margin of another plate. Folio. 13 original lithographs by Eugène Delacroix. The complete suite of the first published edition on large paper.From the first published edition with 13 original lithographs limited to 80 copies with this one of 60 on French paper; 20 copies were also issued on Chine.Delacroix originally composed 16 lithographs in order to illustrate Hamlet the work gradually being completed between 1834 and 1843 but only 13 were issued with the first published edition. All of the prints presented here are with letters and the majority are with the printer’s imprint of Villain. The prints in the set are as follows: - 'La reine s'efforce de consoler Hamlet' Robaut 577; Delteil 103; - 'Hamlet veut suivre l'ombre de son père' Robaut 578; Delteil 104; - 'La fantôme sur une autre partie de la terrasse' Robaut 579; Delteil 105; - 'Polonius and Hamlet' Robaut 580; Delteil 106; - 'Hamlet fait jouer aux comediens la scène de l'empoisonnement de son père' Robaut 583; Delteil; Delteil 109; - 'Hamlet et Guildenstern' Robaut 584; Delteil 108; - 'Hamlet tente de tuer le roi' Robaut 585; Delteil 110; - 'Le meurtre de Polonius' Robaut 586 - 587; Delteil 111; - 'Hamlet et la reine' Robaut 588; Delteil 112; - 'Hamlet et le cadavre de Polonius' Robaut 589; Delteil 113; - 'Mort d'Ophélie' Robaut 591 - 592; Delteil 115; - 'Hamlet et Horatio devant les fossoyeurs' Robaut 593 - 594; Delteil 116; - 'Mort d'Hamlet' Robaut 597; Delteil 118. Chez Gihaut Frères. unknown
1823759401823. Fine. s. d. ca 1823 12 x 18.20 cm Six pages sur deux feuillets rempliés Almost entirely unpublished handwritten letter from the painter Eugène Delacroix to the love of his youth the mysterious Julie now identified as being Madame de Pron by her maiden name Louise du Bois des Cours de La Maisonfort wife of Louis-Jules Baron Rossignol de Pron and daughter of the Marquis de La Maisonfort Minister of France in Tuscany patron of Lamartine and friend of Chateaubriand. 90 lines 6 pages on two folded leaves. A few deletions and two bibliographical annotations in pencil on the upper part of the first page no114. This letter is one of the last to his lover in private ownership all of Delacroix's correspondence to Madame de Pron being kept at the Getty Research Institute Los Angeles. Only nine of the ninety lines of this unpublished letter were transcribed in the Burlington Magazine in September 2009 alongside the long article by Michèle Hanoosh Bertrand and Lorraine Servois whose research finally revealed the identity of the famous recipient. Sublime love letter from twenty-four-year-old Eugène Delacroix addressed to his lover Madame de Pron twelve years his senior who unleashed the liveliest passion in him. This episode of the painter's youth then considered the rising star of Romanticism for a long time remained a mystery in the biography of Delacroix who was careful to preserve the anonymity of his lover thanks to various pseudonyms: Cara the Lady of the Italians and even Julie as in this letter in reference to the famous epistolary novel Julie ou la Nouvelle Héloïse by Rousseau. For obvious reasons Delacroix did not sign his name on any of the letters in correspondence with the lady. A great figure of the legitimate aristocracy the recipient of this feverish letter is Madame de Pron daughter of the Marquis de La Maisonfort Minister of France in Tuscany patron of Lamartine friend of Chateaubriand. Her beauty was immortalized in 1818 by Élisabeth Vigée-Lebrun who painted her portrait in pastel with an oriental hairstyle. Delacroix and Madame de Pron met in April 1822 when the portrait of the latter's son Adrien was commissioned a pupil at the Lycée Impérial now Lycée Louis-le-Grand. Delacroix had been commissioned for the portrait by his close friend Charles Soulier Madame de Pron's lover who despite himself served as an intermediary for Delacroix. In the absence of Soulier who had gone to Italy the painter and the young women established an intense romantic relationship. The portrait commission became a pretext for their tender meetings in his studio on rue de Grès while no trace of the child's painting has been found to this day. Their adventure lasted a little over a year but it was one of the most intense passions of the artist's life. Our letter undoubtedly corresponds to the last throes of their relationship in the month of November 1823. After one of their visits at the end of a hiatus of several months Delacroix writes to her again under the influence of emotion: I come home with a shaken heart what a wonderful evening! . Sometimes I say to myself: why did I see her again In the calm sanctuary where I lived even in the middle of the invisible places that I had formed . I managed to silence my heart. Madame de Pron had indeed decided to bring an end to their intimate relationship see her letter from 10 November 1823: I want sweet friendship . I do not want to torment you Getty Research Institute. Losing all discernment and with blind devotion Delacroix attempts to revive their affair: Make me lie prove to me that your soul is indeed that of the Julie that I once knew since mine has regained its charming emotions and its worries. But the painter runs into Soulier and General de Coëtlosquet also lovers of Madame de Pron. Delacroix had narrowly avoided a final disagreement with Soulier who had almost seen a letter from Madame de Pron in h unknown
182848710Paris.: Ch. Motte & Sautelet. 1828. Black morocco-backed marbled boards and endpapers gilt spine original printed wrappers by Devéria bound in. Folio. Frontispiece portrait of Goethe half-title additional lithograph wrapper by Devéria title and 17 lithographs by Delacroix. A large paper copy of the first edition of Delacroix’s masterful interpretation of ‘Faust’ a pioneering meeting of word and image and a monument of nineteenth-century illustration.All of the plates printed on chine and mounted to larger sheets conform to first or first published state with the address of ‘Ch. Motte’. The wrapper is present in two states one of the front cover on white paper and the other including both the front and rear covers and the backstrip on blue paper.One of the monuments of nineteenth-century illustration.'Ouvrage remarquable et typique de l'époque romantique illustration magistrale du grand Delacroix qui est heureusement de plus en plus estimé des bibliophiles de gout.' Carteret. Ch. Motte & Sautelet. hardcover