Livre Rare Book
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192015002Catalogue des tableaux, dessins, gravures exposés au Musée des Arts Décoratifs du 11 juin au 11 juillet 1920. Pakais du Louvre. Important catalogue avec de nombreuses photos. Broché Très bon Paris 1920 1 plaquette In-4°
GF15110Dessin original à l'encre de chine sur calque signé - format 13,5 x 10,5 cm -
05714Paris: Chez l'Editeur 1827. The Rarely Seen Parisian Scene <br /> The Rise of the Post-Revolution French Middle Class<br /> Its Customs Costumes and Leisure Activities<br /> <br /> BON GENRE LE. Observations sur les Modes et les Usages de Paris pour Servir d'Explication aux 115 Caricatures Publiées Sous le Titre De Bon Genre Depuis le Commencement du Dix-Neuvième Siècle. Paris: Chez L'Éditeur Pierre de la Mésangère 1827. <br /> <br /> Third edition with eleven additional plates not found in the first edition of 1817. <br /> <br /> Large folio 14 7/8 x 10 7/8 in; 378 x 277 mm. 4 24 pp. of descriptive text 115 hand-colored plates. Engraved by Georges-Jacques Gatine. Printed by Vassal et Essling. With a duplicate of plate no. 16 loosely inserted. Some light foxing which is mainly confined to the blank margins. <br /> <br /> Contemporary half crimson straight-grain morocco over marbled boards smooth spine elaborately tooled and lettered in gilt. Some light wear to top and bottom of spine. An excellent example of one of the rarest suites of fashion and caricature.<br /> <br /> OCLC/KVK note only four copies of this edition in library holdings worldwide no copies of the first edition and only two copies of the 1822 edition.<br /> <br /> One of the rarest suites of fashion and caricature featuring superbly colored plates. In addition to satirizing the extravagances of contemporary fashion and society the finely rendered illustrations portray a range of public entertainers-including the rope-dancing troupes of Forioso and Ravel a magic lantern show two performing dog acts Indian jugglers acrobats and four distinct aerial runways.<br /> <br /> Le Bon Genre was one of the earliest series of prints to record the social trends and leisure activities of contemporary Parisians. It is the most important fashion portfolio of its time documenting through its caricatures the rise of the modern city of Paris and the emerging middle-class bourgeois its fashions recreations and dating customs. It also has fun at visitors' expense particularly the English whose customs and fashions the French found incomprehensible and unfashionable; the years of hostility between France and England did nothing to improve relations and the French lost few opportunities to ridicule the British. Le Bon Genre's popularity influenced most of the later fashion illustrators and journals as well as the satirical albums so typical of mid-19th century France and remains a key record of French social history. Overall Le Bon Genre bears witness to the colorful post-Revolution period of Parisian society as it evolves into the early Republican era.<br /> <br /> Of particular interest is the descriptive text preceding the plates that details the content of each caricature. One is astonished and charmed by images of a trio enjoying a magic lantern show #31; three women rapturously eating sorbets #4; a trained and costumed dog act #35; a circus balancing act #91; a man who eats anything #93; a huge amusement park slide #97; and so many more enchanting engravings delicately and vividly hand-colored.<br /> <br /> "Le Bon Genre.was first published in 1817 and went through several editions. This is a record of English and French fashions since the beginning of the nineteenth century; the English fashions are more in the nature of caricatures to show how badly Englishwomen dress as compared with the Parisiennes" Vyvyan Holland Hand Coloured Fashion Plates 1770 to 1899 p. 51.<br /> <br /> "The 'Bon Genre's' first edition 104 plates appeared in 1817. The 1822 edition included eleven additional plates; a third edition was published in 1827. Its illustrations are lively and witty statements of the life of Paris since the beginning of XIXc. with a text of explanatory paragraphs rather than fashion plates" Millia Davenport The Book of Costume II p. 814.<br /> <br /> "Georges-Jacques Gatine was the leading costume engraver of his time. For many years he supplied plates for the Journal des dames. He engraved the 115 designs which make up Le bon genre a lively mélange caricaturing people and scenes of contemporary interest" Ray The Art of the French Illustrated Book p. 141.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Le Bon Genre's publisher and editor Pierre Joseph Antoine Le Bouc of Mésangère 1761-1830 better known by the name of Le Mésangère was a fascinating character whose eclectic career covered a very wide period from the French Revolution 1789 up to the Second Restoration 1815 -1830. First an eccleslastlc philosopher and writer then fashion journalist he was for more than thirty years editor-in-chief of Le Journal des Dames a periodical that had an enormous influence upon contemporary French standards of elegance and taste. Born in Anjou 1761 to a middle-class family Mésangère entered the order Congregation of the Brothers in 1784 and held the philosophie belles lettres Chair at the College de la Fleche. In hiding during the Terror 1793-1794 after Robesplerre's death July 28 1794 he began to be known as a writer for Parisian literary journals. He wrote Le Voyageur a Paris ou Tableau pittoresque et moral de cette capitale 1797 a book that gained a certain notoriety. In 1799 he became editor of Le Journal des Dames a magazine founded two years earlier. It reigned supreme amongst the women's magazines of the epoch. With engraver Gatine executing the designs Mésangère was the pre-eminent writer editor and publisher of works devoted to French women's fashion of his era.<br /> <br /> The contributing artists to Le Bon Genre included George Dutailly François Joseph Bosio Louis Marie Lante Horace Vernet and others but it is Mésangère the editor and publisher who guided them and Gatine the engraver who executed their designs who were and remain the stars here.<br /> <br /> Colas 2240. Vicaire I 839-842. Rahir 332. Davenport 2280A-2281. Paris: Chez l'Editeur, 1827 unknown
182787629Paris: chez l'éditeur boulevard Montmartre no 1Vassalet EsslingImprimeurs 1827. Fine. Princess Murat's copy chez l'éditeur boulevard Montmartre no 1 Vassal et EsslingImprimeurs Paris 1801-1827 ; 1827 pour le texte 41.20 x 27.80 cm relié Complete set of 115 copper-engraved plates with an additional plate 116 plates all printed on either laid or wove paper all hand-colored with watercolor. Two entirely different plates 39 follow each other in first issue: ""Les Titus et les cache-folies"" was published in the 1817 and 1822 sets and the other ""La Politicomanie"" appeared in 1827. This is the most complete series which also includes the 11 new plates published from 1818 to 1822 numbered 105 to 115. According to Vicaire the plates were probably all printed between 1801 and 1822 and only the text preceding the plates was reprinted in 1827. 3/4 long-grained cherry half-morocco smooth spine elaborately framed in gilt lentghwise gilt tooled center of spine gilt lettered title at head of spine framed in gilt marbled boards marbled paper endpapers and flyleaves. Minor brown spots are mainly confined to the 24 pp. of text with very few on the plates mainly on the margins and versos. A rare and famous collection of costumes genre and entertainment scenes from the French First Empire and Restoration eras with very wide margins and magnificently hand-colored at the time. A veritable encyclopedia of thrills pleasures and pageantry published by Pierre de la Mésangère leading fashion editor at the turn of the century. This copy includes two versions of plate 39 both of which are extremely scarce. These magnificent copper-engraved prints by Georges Jacques Gatine Schenker and others were based on drawings by the greatest painters of Parisian fashion: Carle Vernet Philippe-Louis Debucourt Jean-Baptiste Isabey Louis-Marie Lanté Dutailly. They were initially sold as a supplement to the successful magazine Le Journal des Modes before being published as a collection. Some plates bear the engraver's name and several the draftsmen's. This gallery of figures is singularly representative of a period of upheaval in French history in terms material but also moral and intellectual values - depicting a frivolous and daring part of feminine society eager to please and well-versed in the games of love. The ensemble perfectly combines social satire with the refinement expected of fashion engravings. It includes the famous portraits of the extravagantly dressed Directoire women called ""Merveilleuses"" and ""Incroyables"" - representations that have henceforth served as a reference. From beautiful silhouettes reclining on Greek-style beds to provocative and undressed courtesans everything is designed to illustrate the finery of these pretty coquettes often followed by a host of suitors and servants. Dresses hats and furs rub shoulders with elegant male figures in frock coats and even a few transvestites Trois grâces parisiennes no. 16. Many of the scenes have a clear erotic connotation especially the salon games featuring suggestive embraces and positions. Dancing takes pride of place: no fewer than twenty plates feature fashionable ballroom dances ""Danse du Schall"" named after the popular scarf quadrille figures such as ""La Poule"" ""La Trénis"" or more daring ones like ""La Sauteuse"" ballets or even the famous tightrope dancers Ravel and Forioso. The movement of the characters is reflected in the drapery of the large Empire muslin gowns and hair flowing in the wind. Among the dozens of hand-colored plates a great many are devoted to leisure and entertainment activities available at the beginning of the 19th century. Gastronomy games of skill sports acrobatics circus tricks music and even real sensational attractions: several plates depict the very first Parisian roller coaster installed in Belleville then at the Odeon for the 1817 Carnival. Clowns pierrots and masked figures are seen dancing in front of the structures and hurtling down steep slopes on small carriages. Anothe chez l'éditeur, boulevard Montmartre, no 1Vassalet EsslingImprimeurs hardcover
182787629chez l'éditeur, boulevard Montmartre, no 1 Vassal et EsslingImprimeurs | Paris [1801-1827] ; 1827 (pour le texte) | 41.20 x 27.80 cm | relié
c2866Paris, Hotel Drouot, 1923 ; grand in-8°,broché de 32pp.;couverture beige imprimée en noir; trace de mouillure bord inférieur des feuillets.
193037405Paris, Léon Ullman Laboratoires Paris, Léon Ullman Laboratoires Le Brun Vers 1930. In-4 carré broché non paginé, illustré. Tache à la couverture sinon Bon état
Paris, Léon Ullman Laboratoires Le Brun Vers 1930. In-4 carré broché non paginé, illustré. Tache à la couverture sinon Bon état
193319179paris Publications Willy Fischer 1933 in-12 broché une programme, broché (agraphé) blanc (paperback) in-douze Editeur(18 x 13,6 cm), dos muet, couverture illustrée en couleur par BARJANSKI , toutes tranches lisses (all edges smoothes), orné de portraits d'Artistes hors-texte en noir (Yvonne PRINTEMPS, Charles BOYER, Michel SIMON et Jean DEBUCOURT) + illustrations publicitaires en noir, sans pagination (24 pages), 1933 à Paris Willy Fischer Editeur,
7221Société pour l'étude de la gravure française, Paris, 1920. In-8, broché, 127 pp. Avertissement - Philibert-Louis Debucourt, par Emile Dacier - Bibliographie - Catalogue des Peintures. - Catalogue des Dessins, par Albert Vuaflart et Jacques Hérold - Les procédés de gravure - Catalogue des gravures par Debucourt - Catalogue des gravures d'après Debucourt ...
71-5002Paris: Gazette des Beaux Arts circa 1889. . Heliogravure by Dujardin. 19 x 28 cm. sheet. Very Good. [Paris: Gazette des Beaux Arts, circa 1889]. unknown
17985449Retirage par Goupil à la fin du XIXè de cette fameuse planche. Elle est coloriée aux pochoirs. (Fenaille ) Cadre moderne et passe-partout. 520 x 385 1798
5450Célèbre gravure de la série de 12 des “Routes”.Retirage sur vergé d’Arches. En feuille très bon 340 x 415
5451Célèbre gravure de la série de 12 des “Routes”.Retirage sur vergé d’Arches. En feuille très bon 330 x 415
18144369Paris: Ch Bance 1814. An attractive hand coloured engraving by Debucourt after Carle Vernet. First state with 1er to the top left of the plate and No. 1 to the top right. This was conceived as the first in the "Collection de Costumes" series which was to have been a collection of 56 plates with accompanying text showing costumes of the nations. This plate was deposited at the Library by Aumontle on November 2 1814 at the same time as the "March of English Officers." The English are shown as fairly brutish as is often in French prints of the time. A good strong print with attractive original hand colouring. There is moderate to strong foxing across the whole plate. plate area 36cm x 27cm. Sheet is 39cm x 28cm First edition. Une belle gravure coloriée à la main par Debucourt d'après Carle VERNET. Premier état avec le 1er en haut à gauche de la planche et le No. 1 en haut à droite. Cette gravure a été conçue comme la première de la série "COLLECTION DE COSTUMES" qui devait être une collection de 56 planches accompagnées d'un texte montrant les costumes des nations. Cette planche a été déposée à la Bibliothèque par Aumontle le 2 novembre 1814 en même temps que la "Marche des officiers anglais". Les Anglais sont représentés de manière assez brutale comme c'est souvent le cas dans les estampes françaises de l'époque. Il s'agit d'une estampe de bonne qualité avec des couleurs originales attrayantes. Il y a des rousseurs modérées à fortes sur l'ensemble de la plaque. La surface de la plaque est de 36cm x 27cm. La feuille fait 39cm x 28cm. Ch Bance unknown
18005652Gravé à l’eau-forte d’après un croquis de Prud’hon. Une jeune femme nue, baissant les yeux, coiffée en papillotes, est représentée à mi-corps, la joue appuyée sur sa main gauche. Signature en bas à la pointe. Eau-forte imprimée en bistre, décrite dans le catalogue de Prud’hon (n° 188, page 296) par E. et J. de Goncourt. Fenaille n° 132. Très belle épreuve, grande de marges ( 27,3 x 19,2). Rare. 14,4 x 11,8 Bon circa 1800
180012763Paris: Charles Bance & Aumont 1800. Aquatint engraving printed in colour à la poupée on wove paper. Very good condition apart from some overall light soiling and minor foxing. Trimmed close to plate mark on all sides. A striking beautifully coloured engraving after the renowned 16th-century Venetian Mannerist Tintoretto. A representation of the Italian painter's enigmatic mistress this plate is part of a series of three aquatints Debucourt completed after paintings by Tintoretto Rubens and Raphael depicting their respective mistresses.<br/> <br/>This print is a stunning example of the single plate colour printing technique used in France beginning in the 18th century. The effect is achieved by inking a single plate with several different colours by using a rag stump a process known as à la poupée. The outcome achieved by this laborious method of inking has a wonderful painterly effect and creates a delicacy of image which is charming to behold. Although a painter by training Philibert-Louis Debucourt is primarily renowned as one of the most innovative colour printmakers of the eighteenth century. Born in 1781 he studied with Joseph Marie Vien at the French Academy. After several years of exhibiting his paintings at the Salon he turned to printmaking in 1781. During the mid 1780s he began experimenting with the complicated multiple-plate colour printing process a technique that was refined and revolutionized by Jean-François Janinet. Debucourt found success with his colour intaglio prints of Parisian high society and he quickly earned a reputation as a skilled and prolific engraver. The bulk of his prints however were based on paintings by other artists and completed after the turn of the century. Despite his intense focus on printmaking he continued to exhibit his paintings alongside his engravings at the Salon throughout his life.<br/> <br/>Cf. Benezit Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs vol. 4 p. 323; cf. Regency to Empire: French Printmaking 1715-1814 p. 346; Fenaille L'oeuvre gravé de P.-L. Debucourt 1755-1832 pp. 257-8. Charles Bance & Aumont unknown books
180012765Paris: Charles Bance & Aumont 1800. Aquatint engraving printed in colour à la poupée on wove paper. Very good condition apart from some overall light soiling minor foxing and a skillfully repaired small loss in the left margin. Trimmed close to plate mark on all sides. A striking beautifully coloured engraving after the renowned 17th-century Flemish painter Peter Paul Rubens. A representation of Rubens' sister-in-law Susanna Lunden this plate is part of a series of three aquatints Debucourt completed after paintings by Tintoretto Rubens and Raphael.<br/> <br/>Susan Lunden was the daughter of the Antwerp silk merchant Daniel Fourment and the sister of Rubens' second wife Helena. Originally titled 'Le Chapeau de Paille' The Straw Hat the painting after which this plate is engraved dates from around 1622-25 and may have been a marriage portrait intended for Lunden's second husband Arnold. This print is a stunning example of the single plate colour printing technique used in France beginning in the 18th century. The effect is achieved by inking a single plate with several different colours by using a rag stump a process known as à la poupée. The outcome achieved by this laborious method of inking has a wonderful painterly effect and creates a delicacy of image which is charming to behold. Although a painter by training Philibert-Louis Debucourt is primarily renowned as one of the most innovative colour printmakers of the eighteenth century. Born in 1781 he studied with Joseph Marie Vien at the French Academy. After several years of exhibiting his paintings at the Salon he turned to printmaking in 1781. During the mid 1780s he began experimenting with the complicated multiple-plate colour printing process a technique that was refined and revolutionized by Jean-François Janinet. Debucourt found success with his colour intaglio prints of Parisian high society and he quickly earned a reputation as a skilled and prolific engraver. The bulk of his prints however were based on paintings by other artists and completed after the turn of the century. Despite his intense focus on printmaking he continued to exhibit his paintings alongside his engravings at the Salon throughout his life.<br/> <br/>Cf. Benezit Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs vol. 4 p. 323; cf. Regency to Empire: French Printmaking 1715-1814 p. 346; Fenaille L'oeuvre gravé de P.-L. Debucourt 1755-1832 pp. 257-8. Charles Bance & Aumont unknown books
195753521Paris, Rombaldi, coll. « Costumes et Modes d’Autrefois », n° 4 1957 In-folio 39 x 28 cm. En feuillets sous couverture rempliée et illustrée et étui carton, 12 ff. de texte, 24 planches en couleurs hors texte sur papier vélin des papeteries Aussedat. Exemplaire en très bon état.
1987RO90079779EDITIONS LIVRE DE POCHE N° 6414. 1987. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 255 pages.. . . . Classification Dewey : 840.091-XX ème siècle
198610500JC Lattès 1986 1986, JC Lattès, in-8 broché de 264 pages, couverture illustrée d'une photo couleurs par John Foley. | Etat : Bon état général (Ref.: Ref5489)
181256411812 Eau-forte et aquatinte 51 x 67 avec le cadre. Déposé à la Bibliothèque le 31 janvier 1812 par Bance. Aquatinte et eau-forte imprimée en deux tons noir et bleu dans les fonds et la neige. Cette pièce encadrée dans une large marge noire à l’aquatinte ne porte pas de titre. Fenaille n° 307 - 2è état (sur 2) Cadre de l’époque en pin marqueté de filets plus clairs. 51 x 67 avec le cadre. 1812
18165555Catalogue Fenaille n° 368. Cadre moderne. Collection de costumes dessinés d’après nature par Carle Vernet. N° 4 de la livraison(7 octobre 1816) très bon 1816
18144369Paris Ch Bance 1814 Une belle gravure coloriée à la main par Debucourt d'après Carle VERNET. Premier état, avec le 1er en haut à gauche de la planche, et le No. 1 en haut à droite. Cette gravure a été conçue comme la première de la série "COLLECTION DE COSTUMES", qui devait être une collection de 56 planches accompagnées d'un texte montrant les costumes des nations. Cette planche a été déposée à la Bibliothèque par Aumontle le 2 novembre 1814 en même temps que la "Marche des officiers anglais". Les Anglais sont représentés de manière assez brutale, comme c'est souvent le cas dans les estampes françaises de l'époque. Il s'agit d'une estampe de bonne qualité, avec des couleurs originales attrayantes. Il y a des rousseurs modérées à fortes sur l'ensemble de la plaque. La surface de la plaque est de 36cm x 27cm. La feuille fait 39cm x 28cm.
180012763Paris: Charles Bance & Aumont 1800. Aquatint engraving printed in colour à la poupée on wove paper. Very good condition apart from some overall light soiling and minor foxing. Trimmed close to plate mark on all sides. A striking beautifully coloured engraving after the renowned 16th-century Venetian Mannerist Tintoretto. A representation of the Italian painter's enigmatic mistress this plate is part of a series of three aquatints Debucourt completed after paintings by Tintoretto Rubens and Raphael depicting their respective mistresses.<br/> <br/> This print is a stunning example of the single plate colour printing technique used in France beginning in the 18th century. The effect is achieved by inking a single plate with several different colours by using a rag stump a process known as à la poupée. The outcome achieved by this laborious method of inking has a wonderful painterly effect and creates a delicacy of image which is charming to behold. Although a painter by training Philibert-Louis Debucourt is primarily renowned as one of the most innovative colour printmakers of the eighteenth century. Born in 1781 he studied with Joseph Marie Vien at the French Academy. After several years of exhibiting his paintings at the Salon he turned to printmaking in 1781. During the mid 1780s he began experimenting with the complicated multiple-plate colour printing process a technique that was refined and revolutionized by Jean-François Janinet. Debucourt found success with his colour intaglio prints of Parisian high society and he quickly earned a reputation as a skilled and prolific engraver. The bulk of his prints however were based on paintings by other artists and completed after the turn of the century. Despite his intense focus on printmaking he continued to exhibit his paintings alongside his engravings at the Salon throughout his life.<br/> <br/> Cf. Benezit Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs vol. 4 p. 323; cf. Regency to Empire: French Printmaking 1715-1814 p. 346; Fenaille L'oeuvre gravé de P.-L. Debucourt 1755-1832 pp. 257-8. Charles Bance & Aumont unknown
