580 résultats
R300148900UNION LITTERAIRE ET ARTISTIQUE. NON DATE. In-Folio. En feuillets. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 332 pages + 353 pages - quelques illustrations en monochrome hors texte contre collées - pages non coupées - ouvrages sous chemise cartonné rigide et sous emboitage cartonné rigide conservés - 4 photos disponibles.. . Sous Emboitage. . Classification Dewey : 96-Livres remarquables par leur illustration, leur papier
123480sd Edité pour l'Union Littéraire et Artistique par le Club Bibliophile de France sous la direction de Maurice Robert, à Paris - sans date - Deux volumes grand in-4, reliure plein chagrin rouge de l'éditeur, riches décors dorés sur les plats, dos à 5 nerfs, caissons richement ornés, toutes tranches dorées, sous étui d'éditeur bordés - Il a été tiré de cet ouvrage trois mille cinq cents exemplaires sur Vélin de Renage, numérotés de I à 3500, celui-ci porte le n° 2818 - Illustrations en contrecollés dans l'ouvrage
R300147003CHEZ PIERRE ROUQUETTE. NON DATE. In-Plano. En feuillets. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Chemise cartonné rigide contenant 59 gravures en noir et blanc (collationnées) + page de titre + la table - 7 photos disponibles.. . . . Classification Dewey : 760-Arts graphiques. Gravures
65-0269Paris: Chez de Launay mid-18th cent. Hand-colored engraving. 27 x 30 cm. in the plate; 39 x 51 cm. with margins. After original painting. Title and imprint in the plate. Paris: Chez de Launay, mid-18th cent. unknown
1933GITg345Cannes Delannoy sans date vers 1933. In-8 broché couverture illustrée 62pp. Auréole ancienne sur le 1er plat de la couverture, au bas du dos et au bas du 2e plat de couverture n'altérant pas l'intérieur, petits plis horizontaux sur le dos, exemplaire bien complet. Bel envoi de l'auteur au poète et dramaturge Georges Loiseau.
19001358Paris 1900. Etching on a large sheet of light cream wove paper 4 3/4 x 3 1/2 inches 120 x 90 mm full margins. In good condition with minor edge wear well outside of image area. An etching after the c1780 illustration by Fragonard likely printed early 20th century. The British Museum offers the following biographical information regarding the artist:<br /> <br /> "Painter draughtsman etcher curator and author. Worked as a diplomat in Naples 1779-85 where he learned how to engrave; travelled through Italy in 1788/89 and settled in Venice from where he was expelled in July 1793 prompting his return to Paris; in 1797/98 with Napoleon on the Egyptian campaign. In these years turned his amateur etchings into a business and published two catalogues of his work in 1793 and in 1803. Appointed in 1803 as first director of the Louvre and put in charge of the Gobelins Sèvres and the Monnaie; for this created a Baron. In charge of deciding the works to be removed from occupied Europe for the Louvre. Resigned in 1815 and spent his retirement in writing and organising the plates of his 'Monuments des arts du dessin' which was based on his own enormous private collection. Died in 1825 and his collection subsequently was sold in a series of auctions. unknown
19001381Paris 1900. Etching on a large sheet of light cream wove paper 4 3/4 x 3 1/2 inches 120 x 90 mm full margins. In good condition with minor edge wear well outside of image area. An etching after the c1780 illustration by Fragonard likely printed early 20th century. The British Museum offers the following biographical information regarding the artist:<br /> <br /> "Painter draughtsman etcher curator and author. Worked as a diplomat in Naples 1779 - 1785 where he learned how to engrave; travelled through Italy in 1788/89 and settled in Venice from where he was expelled in July 1793 prompting his return to Paris; in 1797/98 with Napoleon on the Egyptian campaign. In these years turned his amateur etchings into a business and published two catalogues of his work in 1793 and in 1803. Appointed in 1803 as first director of the Louvre and put in charge of the Gobelins Sèvres and the Monnaie; for this created a Baron. In charge of deciding the works to be removed from occupied Europe for the Louvre. Resigned in 1815 and spent his retirement in writing and organising the plates of his 'Monuments des arts du dessin' which was based on his own enormous private collection. Died in 1825 and his collection subsequently was sold in a series of auctions. unknown
19001383Paris 1900. Etching on a large sheet of light cream wove paper 4 3/4 x 3 1/2 inches 120 x 90 mm full margins. In good condition with minor edge wear well outside of image area. An etching after the c1780 illustration by Fragonard likely printed early 20th century. The British Museum offers the following biographical information regarding the artist:<br /> <br /> "Painter draughtsman etcher curator and author. Worked as a diplomat in Naples 1779-85 where he learned how to engrave; travelled through Italy in 1788/89 and settled in Venice from where he was expelled in July 1793 prompting his return to Paris; in 1797/98 with Napoleon on the Egyptian campaign. In these years turned his amateur etchings into a business and published two catalogues of his work in 1793 and in 1803. Appointed in 1803 as first director of the Louvre and put in charge of the Gobelins Sèvres and the Monnaie; for this created a Baron. In charge of deciding the works to be removed from occupied Europe for the Louvre. Resigned in 1815 and spent his retirement in writing and organising the plates of his 'Monuments des arts du dessin' which was based on his own enormous private collection. Died in 1825 and his collection subsequently was sold in a series of auctions. unknown
177616617Tome second de 1444 à 1527. 10 superbes illustrations, vignettes de titre, culs-de-lampe, et un portrait hors-texte du Connétable de Bourbon, dessiné d'après le tableau du Titien, par Fragonard, gravé par Miger. Avec Explication des vignettes contenues dans ce volume.Édition originale. A Paris, de l'Imprimerie Royale - 1776 - 662 pages.Reliure plein veau moucheté de l'époque. Dos à 5 nerfs orné et doré avec pièces de titre et de tomaison. Tranches dorées. Triple filets dorés encadrant les plats et sur les coupes. Pas de rousseur. Très bon état. Format in-4°(27x21).
51-6251Paris: Hôtel de Cluny1838–46. Folio. 35 x 53.25cm. sheet size with pages attached to hinges for an effective width of 38cm. 6 plate volumes uniformly bound in full green morocco with elaborate gilt border designs; gilt inner dentelles marbled endpapers all edges gilt. .VERY HEAVY VOLUMES.10 plate albums bound in 5 plus the plate atlas album. With 508 lithographed plates 400 in the albums frontispiece portrait & 107 in the atlas many printed in color or hand-colored others black & white or sepia; color lithographed title pages for the atlas and the albums except for the title page of the tenth part which is not present and perhaps never published. Plain paper interleaves to the plates. Some of the plates are chromolithographs but most of the colored plates are richly handcolored and gommés. Sixty artists worked on the lithographs.References: Brunet II 920."ouvrage splendide et d'un grand intérêt"; OCLC Number / Unique Identifier: 1110334971.Dunbarton Oaks:Like his family before him Alexandre Du Sommerard 1779–1842 had a career in public service first in the military then in the civil service then in the court itself. Passion for his native country of France was even more manifest in his art collecting and studies which is where he directed most of his energies.The first items he acquired were paintings by contemporary French painters but after 1825 he devoted himself to art from the Middle Ages to the seventeenth century with particular attention to arts with French connections. In his actions and his collector’s tastes Sommerard was likely influenced by Alexandre Lenoir 1761–1839 who rescued medieval treasures and monuments from destruction during the French Revolution and who later set up the Musée des Monuments Français.By 1832 Sommerard had accumulated such a large collection that he purchased the late fifteenth-century Hôtel des Abbés de Cluny to house it. In each room of the building he arranged furniture objects and textiles according to their function or symbolic value in an attempt to replicate the interior spaces of the past.In 1838 Alexandre Du Sommerard published the first volumes of a multivolume work Les Arts du moyen-âge which he intended as a history of French medieval art. His collection and study included early Christian and Byzantine art as the precursors to western medieval art. He felt that history should not rely solely on written sources and that historians and the public needed to comprehend the history of art as well.The illustrated atlas and album were issued serially 10 installments in all and each with a beautiful unique title page. Inside each installment were large illustrations of medieval buildings and objects. In the Avertissement Sommerard brags that the publication used lithography the most advanced technique in book illustration available at the time in order to create accurate reproductions. At this point chromolithography was still in development and most lithographic illustrations were black-and-white so it seems likely that the rich colors in Sommerard’s publication were added manually.Upon his death in 1842 his collection and the building were bequeathed to the state. In 1844 Lenoir’s son Alexandre-Albert Lenoir 1801–1891 oversaw the movement of his father’s collection to Roman baths that are immediately adjacent to the Hôtel de Cluny. The combined collections became the Musée de Cluny now the Musée National du Moyen Âge. Edmond du Sommerard d. 1855 was appointed the museum’s first curator and was responsible for the acquisition of the museum’s famous lady-and-unicorn tapestries. Since then some items have been deaccessioned and moved to other museums but the existing museum still reflects the ideas and tastes of Sommerard and Lenoir.Alexandre Du Sommerard a mobilisé près de soixante artistes pour créer les cinq cents planches d’illustrations lithographiques des Arts au Moyen Âge.DeÌ€s ses débuts Alexandre a montré un intérêt marqué pour cette technique l’ayant deÌjaÌ€ utilisée pour Les Vues de Provins. Cet intérêt s’explique par la faciliteÌ d’exécution offerte par la lithographie qui n’exige pas des artistes l’apprentissage d’une technique de gravure particulière. Cette simplification d’exécution permet non seulement de réduire le temps nécessaire aÌ€ la réalisation d’une estampe mais aussi d’acquérir rapidement une renommée grâce aÌ€ la diffusion quasi immédiate de ces images. Cette avancée technologique explique pourquoi la lithographie est devenue rapidement une alternative intéressante tant sur le plan financier que commercial par rapport à d’autres procédés.PROVENANCE; Bookplate of M.C.D. Borden in each volume. Matthew Chaloner Durfee Borden was born on July 18 1842 in Fall River Mass. the son of Col. Richard and Abby W. Durfee Bordon. He was educated at Phillips Academy in Andover and graduated from Yale University in 1864. At Yale he was a member of Delta Kappa Epsilon and Skull and Bones. Later that year he entered one of New York's leading dry goods house as a stock boy. In 1865 he married his relative Harriet M. Durfee and they had seven children.Borden came to New York after graduation working as a clerk in a dry goods jobbing house. Three years later he became a partner in a commission firm and represented the American Print Cloth Works of Fall River. This concern failed in 1879 but Mr. Borden reorganized it in 1880 as the American Printing Company. In 1869 Borden decided to manufacture his own cotton rather than buying it from others to supply his printing mills. He built three mills to begin with and ultimately the Falls River Iron Works Mills was a thriving business. He was a compassionate man regarding his employees raising wages in times of depression and his mills were not struck by the labor unions when his relatives’ mills were.Borden also kept a home in New York City at 25 West 56th Street where he had many financial interests being a director of the Manhattan Company Bank the Lincoln National Bank the Astor Place Bank the Lincoln Safe Deposit Co. and the New York Security & Trust Co. In 1885 Mayor William R. Grace appointed Borden to be the Park Commissioner a position he held for five years. He was a member of the Union League Club Merchants Club Metropolitan Club New England Society New York Yacht Club Players Club Republican Club Riding Club and the Union League Club among many others. Borden was an avid yachtsman and belonged to the Seawanhaka Yacht South Side Sportsmen's and Jekyll Island Clubs. He was the owner of the yacht Sovereign which was later bought by the government and renamed the Scorpion. Mr. Borden also amassed a large and important collection of art. Paris: Hôtel de Cluny,1838–46 hardcover
200355941Amateur 2003 In-4 broché 29,2 cm sur 18,8. 398 pages. Très bon état d’occasion.
1946AUB-669Editions La Palatine, Genève 1946. Bel exemplaire relié, premier plat orné d'éd., gd in-8, 68 pages + 10 planches.
198155929Jupilles 1981 In-4 relié. 47 pages. Bon état d’occasion.
18219981821 PARIS. SANS DATE. (1821). 3 LITHOGRAPHIES EN 2 TONS DE ENGELMANN, MONTEES SUR CHINE (52,5 X 35 CENTIMETRES ENVIRON AVEC LES MARGES), TIREES DE L'OUVRAGE DE MERLE ET PERIE "DESCRIPTION HISTORIQUE ET PITTORESQUE DU CHATEAU DE CHAMBORD". COMPREND : - PL. 3. UNE VUE DE LA LANTERNE QUI TERMINE LE GRAND ESCALIER, D'APRES PERIE. - PL. 4. VUE DU CHATEAU PRISE, PRISE DU COTE DES APPARTEMENTS DE FRANCOIS 1°, D'APRES VILLENEUVE. - PL. 6. INTERIEUR DE L'ORATOIRE DE LA REINE, D'APRES FRAGONARD. ON JOINT LA PAGE 33 DE L'OUVRAGE AVEC UNE GRANDE VIGNETTE LITHOGRAPHIEE A MI-PAGE.
1948boz_002027Ferdinand Bac. Lettre autographe signé à Emily, 1948 Dimensions : 13,5 x 20,9 cm Nombre de pages : 2 pages
195483795Peret, Paris und Editions Spes, Lausanne 1954. 1954. Gr.-8°, XXVI S., 1 Bl., 69, (1) S., mit 47 Tafeln. Orig.-Pappband mit Orig.-Umschlag.
1977RO20236867Nathan. 1977. In-12. Broché. Bon état, Couv. légèrement pliée, Dos satisfaisant, Intérieur frais. 128 pages. Annotations au crayon sur le second contreplat. Tampon ex-libris sur le premier contreplat. Tâche d'encre en page de titre.. . . . Classification Dewey : 440-Langues romanes. Français
RO80259169Gallimard. Non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 144 pages. Nombreuses illustrations monochromes et en couleurs dans et hors texte.. . . . Classification Dewey : 809-Histoire, littérature
1990RO20239678Librairie Honoré Champion. 1990. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 176 pages. Exemplaire de bibliothèque avec annotation de codes à l'encre et au crayon, tampon et étiquette en page de titre.. . . . Classification Dewey : 840.091-XX ème siècle
1876R320176097Alphonse Lemerre. 1876. In-8. Cartonné. Etat d'usage, Tâchée, Dos satisfaisant, Intérieur frais. 41 eaux-fortes originales (collationnées) - sous chemise cartonnée avec fermeture à lacets - plats de la chemise tâchés.. . . . Classification Dewey : 767-Eaux-fortes
16025P., chez Helleu et Sergent, 1927, grand In-4, en feuilles, sous chemise bleue éditeur.
1987121811987 Paris, Réunion des Musées Nationaux, 1987, fort volume in-4,relié en cartonnage toilé de l'éditeur sous jaquette illustrée, 633p., bibliographie, index, nombreuses illustrations en couleur et en noir.tres bon état
1931116873Paris Henri Floury 1931 1 vol. relié in-8, demi-chagrin vert sapin, dos à nerfs, couvertures et dos conservés, 236 pp., frontispice en couleurs et 35 planches de reproductions hors-texte. Frottements aux mors, sinon bon exemplaire.
1931116873Paris Henri Floury 1931 1 vol. relié in-8, demi-chagrin vert sapin, dos à nerfs, couvertures et dos conservés, 236 pp., frontispice en couleurs et 35 planches de reproductions hors-texte. Frottements aux mors, sinon bon exemplaire.
68510aafGenève, Albert Skira, 1938, in-folio, 4 ff. de texte + 6 planches en couleurs, non reliées, cahier.
