KLEIN (Charles-Armand)Livre Rare Book
580 résultats
199627514Equinoxe (Collection Mémoires du Sud), 1996. In-8 broché (21 x 14,8 cm), 213 pages, illustré de gravures.-580g.L. - Envoi autographe de l'auteur (dédicace), très bon état.
18388593Paris POURRAT FRERES 1838 1 Vignettes par Théophile FRAGONARD. Paris, Pourrat Frères, 1838. In-8, chagrin vert, dos et plats ornés de fers romantiques dorés, tranches dorées, 511 et 68 pp.
ABE-1618152228326N° 22 (PISSARRO, ALBERT ANDRE)-23 (PEINTRES DE VENISE, BIENNALE DE VENISE)-24 (MATISSE ET LE MAROC, FRAGONARD EN MENAGE, EXPOSITION INTERNATIONALE DE SCULPTURE CONTEMPORAINE DANS UN JARDIN PARISIEN)-25 (GIOTTO ET LES FRESQUES D'ASSISE, ODILON REDON PEINTRE DE L'IMAGINAIRE, AU CLOS LUCE LEONARD DE VINCI EST RESTE BIEN VIVANT, LA BIBLE VUE PAR CHAGALL, LES NETZUKE JAPONAIS, LE MUSEE IMAGINAIRE DU FACTEUR CHEVAL, DAUCHOT-TABLES ALPHABETIQUE, ANALYTIQUE, DES ILLUSTRATIONS, ILLUSTRATIONS DANS LE TEXTE-26 (LA POETIQUE DE BRAQUE, LA CHEMINEE, LE MERVEILLEUX DANS LES CONTES DE FEES)-27 (LES IMAGES D'EPINAL DE JEAN CHARLES PELLERIN, EMILE BERNARD ET CEZANNE, BARYE.CE MECONNU, LA MAISON DE CAMPAGNE DE CHAPELAIN MIDY, JEAN ETIENNE LIOTARD, ANDRE LHOTE RACONTE SA VIE EN SIX TABLEAUX, LA PREMIERE TRIENNALE D'ART FRANCAIS CONTEMPORAIN, DESNOYER EN HOLLANDE)-30 (REYNOLDS, FRANCIS BACON, QU'EST-CE QUE L'ART ABSTRAIT?, LA JOCONDE ET LES "JOCONDE", SIMON SEGAL, SOURDILLON)-RELIURE CUIR 5 NERFS-PLATS TOILES
51-1186Berlin et Londres: A. Asher et Compagie 1841. Small folio. Original embossed blue-green cloth. With 12 color plates lithographed by L. Letronne after Th. Fragonard et Duféy from the series Types et Caractères Anciens:L'Ecolier la Courtisane de Venise le Mignon la Bohémienne la Camarera-Mayor le Bravo le Fou en titre d'office l'Empirique la Chatelaine le Pèlerin le Nain l'Aventurier. Berlin et Londres: A. Asher et Compagie, 1841. hardcover
1914ABE-153028876655752 PAGES-23,5 CM X 34 CM-EN COUVERTURE LE GENERAL MICHEL (PAGE 3 APPARAISSANT DANS FENETRE MEDAILLON DE COUVERTURE)-EN COUVERTURE INTERIEURE "LE PRESIDENT DES ASSISES, M. LE CONSEILLER ALBANEL, QUITTE SAINT-LAZARE"-MME CAILLAUX VA PASSER EN COURS D'ASSISES", PHOTO PLEINE PAGE, LEGENDE SUR 8 LIGNES-LA REVUE DU 14 JUILLET A LONGCHAMP, 1P, 3 PHOTOS-LA FRANCE EST EN DANGER, JACQUES BERTILLON, NATALITE, 5P-MRS STOCKS REAPPREND LES GESTES DE LA VIE, 3P, 3 PHOTOS, AEROPLANE-RENCONTRE FELIX FAURE ET NICOLAS II, 3P-UN DES TABLEAUX LES PLUS CELEBRES DE FRAGONARD "LA BONNE MERE" AURAIT-IL ETE PEINT A PLUSIEURS EXEMPLAIRES?, 1P, 3 PHOTOS-LE PALAIS DE LA GRANJA-MLLE BERTHE BOVY DANS LA "NOUVELLE IDOLE", PHOTO PLEINE PAGE, LEGENDE 8 LIGNES-GENEVE VIENT DE FETER UN GLORIEUX CENTENAIRE, 2P, 4 PHOTOS-"UN COMBAT" NOUVELLE INEDITE PAR LOUIS CHAMPEAUX, 2P, DESSIN DE VACCARI-VOICI QUELQUES-UNS DES QUARANTE JURES DE LA PROMOTION D'ASSISES CAILLAUX, 2P, 11 PHOTOS (GEORGES BERR, M. JOBBE DUVAL,.)-LE DEFENSEUR ET L'ACCUSATEUR DE MME CAILLAUX, LABORI, HERBAUX, 1P, 2 PHOTOS-LE MONUMENT DE VICTOR HUGO A GUERNESEY, 1P, PHOTO PLEINE PAGE LEGENDE 8 LIGNES (PJ4)
1966ABE-157752813919720 PAGES-A PROPOS DE L'AFFAIRE BEN BARKA LA SONNETTE D'ALARME-UNE HISTOIRE FRANCAISE DE FRANCOIS NOURISSIER, PAR PIERRE HENRI SIMON, 2 TIERS DE PAGE-THEATRE: "LES JUSTES" D'ALBERT CAMUS-CINQUANTE QUATRE DESSINS SONT VOLES AU MUSEE DE BESANCON
16-6442Paris: G. Charpentier et E. Fasquelle 1900. Oblong folio. Prints loose as issued in 10 printed sleeves. 27.4 x 34cm. Titles beneath the prints in French German and English.OCLC Number / Unique Identifier:909111608. Paris,: G. Charpentier et E. Fasquelle, [1900] unknown
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
76-0921Paris: Villain 1827. Lithograph. 41.5 x 28 cm sheet. Good light specks of foxing throughout some tears along sheet edges. [Paris: Villain, 1827]. unknown
71-6304Paris: French Publisher circa 1780. Hand-colored engraving. 46 x 54.5 cm sheet. Very Good sheet mounted to another support sheet light specks of foxing in the margins. [Paris: French Publisher, circa 1780]. unknown
71-6296Paris: French Publisher circa 1780. Hand-colored engraving. 45.5 x 56 cm sheet. Good sheet mounted to another support sheet sheet toned minor rubs. [Paris: French Publisher, circa 1780]. unknown
1913ABE-14997020626COUVERTURE COULEURS PAR RICHARD WALLACE, FEMME BLONDE COL FOURRURE CHAPEAU FLEURI BOUQUET DE FLEURS VIOLETTES SUR FOND DE SAPIN ENNEIGE-MLLE SPINELLY POUR PUBLICITE CADUM-PUBLICITE MICHELIN, BIBENDUM ASSIS SUR LE GRAND PALAIS DES CHAMPS ELYSEES-"NOEL!", 4P PAR EMILE FAGUET, 8 DESSINS DE FELIX LORIOUX-SAUVONS NOS EGLISES DE LA RUINE, 3P PAR MAURICE BARRES-"LE GONDOLIER", POEME 2P PAR HENRI DE REGNIER-IL FAUT AVOIR VU LE BROMO, 8P PAR E.BRIEUX, DESSINS DE BIRON-ROGER-UNE NUIT DE NOEL AU MAROC, 5P PAR EMILE NOLLY, 4 DESSINS PAR MAHUI-LES MERVEILLES DE LA SANGUINE, 10P PAR HENRY ROUJON, 9ILL-CE QU'ON NE VERRA PLUS "ADIEU A MONTMARTRE", POEME PAR ANDRE RIVOYRE, 2P-L'ENVERS DU CINEMA, 6 DESSINS DE HEATH ROBINSON-JEAN-JACQUES ROUSSEAU A ERMENONVILLE, 6P PAR LE MARQUIS DE SEGUR, ILL GORGUET-"LA LETTRE DE NOEL", CONTE PAR G.LENOTRE, 8P, ILL MYRBACH-"CONSTANTINOPLE QUI S'EN VA", PAR CLAUDE FARRERE, 3P, ILL COULEURS-LA DANSE A LA MODE, 12P PAR PIERRE VEBER, ILL ALBERT GUILLAUME-DES MILLIONS QUI ARRIVENT TROP TARD, 11P PAR LOUIS GILLET-"PRINCESSE AZURINE", PAR JACQUES NORMAND, 6P, ILL FELIX LORIOUX-QUAND J'ETAIS ANTIGONE, 8P PAR JULIA BARTET, ILL RENE LELONG-"LA DERNIERE DILIGENCE", PAR PIERRE MILLE, 3P-VIEUX NOEL DE CHEZ NOUS TOUS LES BOURGEOIS DE CHATRE., MUSIQUE DE ROSE DELAUNAY, ILL JOB-CHASSES ROYALES AUX INDES, 10P, GEORGES V-LES OISEAUX QUI VOLENT LA TETE EN BAS, FAUCON, CHAT, 9P-CELUI QUI FAIT LES FRAIS DE LA FETE, COCHON, 7P-ETAT D'USAGE
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
198064907Gallery. As New. 1980. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - Text in French. 220 pp. With 237 ills. On 152 pls. 15 col. . 21 x 20 cm. -- with a bonus offer-- . Gallery paperback
3109Bordeaux, Galerie des Beaux-arts, 1980. In-4, br, couverture illustée, 219p. A l'occasion de l'année du Patrimoine et du bicentenaire du théatre de Bordeaux. Avec la plaquette de l'exposition. t.b.e.
1934140051934 S.l.n.d., [P., Jacomet, 1934-38 (?)], 2 vol in-folio (362 x 255 mm) reliés plein maroquin grenat, dos à 6 nerfs richement ornés, triple filets et dentelle dorés en encadrement sur les plats, tranches dorées, roulette dorée intérieure, doublures et gardes de soie moirée bleue, de (4) ff., (2) ff., 244 pp., (1) f., 57 pl. h. t. (pagination continue). Dos des 2 tomes et bords du plat supérieur du Tome II légèrement insolés, bel exemplaire par ailleurs.
20441Paris Librairie Pittoresque de la Jeunesse, sans date (vers 1850) in 8 (19x12) 1 volume reliure percaline bleue ornée de l'éditeur, dos lisse orné d'important décor doré, plats ornés d'une importante plaque dorée (ors du plat supérieur ternis), tranches dorées, 236 pages [1], illustré de 10 dessins de Théophile Fragonard, quelques rousseurs éparses. Complet des 10 lithographies hors-texte sur fond teinté (dont le frontispice). Bon exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
ART6942MLéo Delteil, Paris, 1926. In-folio, feuilles et planches sous chemise cartonnée nouée et protection simili serpent vert, 14 pages de texte et 82 planches contrecollées. Un des 600 exemplaires tirés. Chemise passée. Textes légèrement épidermés. Planches bonnes. Exemplaire de témoignage
1954AUB-7898Ed. Spes 1954. Bel exemplaire relié, jaquette conservée, gd in-8 carré, 26 pages + planches et notices des planches.
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.
1990R150231263GALLIMARD. 1990. In-12. Broché. Etat du neuf, Couv. convenable, Dos satisfaisant, Intérieur frais. 144 pages - ACHEVE D'IMPRIMER EN 1990 - nombreuses illustrations en couleur et en noir et blanc en dehors et dans le texte - 1 autocollant sur le 2ème plat n'altérant pas la lecture. . . . Classification Dewey : 800-LITTERATURE (BELLES-LETTRES)
1980045798Paris: Decouvetes Gallimard 1980. 144p. colored and b/w illus. original stiff printed wrappers. Decouvetes Gallimard unknown books
A9689Gallimard pliure au dos.
18431148011843 A Paris, Fournier, rue neuve-des-petits-champs, 50 & Lavigne, rue du Paon, 1 - 1843 - In-4, demi basane brune ornée de 2 filets dorés sur les plats; dos à 5 nerfs orné de filets et caissons dorées richement décorés avec titre et nom de l'auteur en dorés; tranches dorées - 280 pp. - Pages de textes encadrées de riches décors romantiques (scènes et personnage) - Frontispice + 31 hors texte en N&B
1838001R21J. J. Dubochet et Ce. Paris: 1838. 1838 pp. 9 10-719. Colour chromo-lithographed frontispiece and title. Each page has the text set within various elaborate ornamental and/or architectural borders. Additional chapter illuminations illustration and woodcut portraits of the evangelists apparently lacking St. Matthew. Most of the designs were drawn by Theophile Fragonard 1806-1876. Slight staining to the first few leaves. Large 8vo. Mid-19th century French leather backed boards binding. Spine nicely gold gilt. Carteret III 225. A scarce and attractive book. PRICE JUST REDUCED! FR4. Language: eng. Hardcover. Very Good. J. J. Dubochet et Ce., Paris: 1838. hardcover
