1 253 résultats
12723Paris, L'Avant-Scène Théâtre n° 654,[1979]. In-4°, 58p. Broché, couverture illustrée.
198917099Basel: Galerie Beyeler 1989. First edition. Paperback. Orig. illustrated stiff wrappers. Fine. Approx. 48 pages. 12 x 10". 8 pages of color plates many are double-paged. Galerie Beyeler paperback books
296355unbound. very good. A.L.S. 8vo. 1 page no place/no date in French translated c. early 1883 at a time when he suffered from a host of ailments and was unable to complete even the most rudimentary commission without difficulty in full: "I will implore you to delay until later the visit you promised to make me Thursday in my workshop. I am not yet advanced enough with my painting. 'Til next Thursday therefore.Please convey to Mademoiselle the assurance of my regards." By early 1883 Manet developed severe pain and partial paralysis in his legs and was suffering from Locomotor Ataxia a known side affect of Syphilis. He suffered severely from the affects of Rheumatism which made it at times difficult for him to even hold a quill in his hand which may account for the unusual sloppiness of his penmanship in this letter. Item is evenly toned on lined paper which made it easier for Manet to control his handwriting when constructing sentences. Very good.<br/><br/> French Modernist painter who became a pivotal figure in the transition from Realism to Impressionism during the second half of the 19th century.<br/><br/> unknown books
1929283120Paris: Maurice Legarrec 1929. Limited. paperback. very good. Edouard Manet. 8 page preface by Jean Guiffrey Curator of Paintings at the Louvre Museum. Unpaginated. 19 mounted facsimile letters mostly addressed to Mademoiselle Lemonnier and 3 additional color illustrations. Tall 8vo original plain wrappers protected in a brown cloth folder. Paris: Maurice Legarrec publisher 1929. Limited edition -- number 55 of 300 copies beautifully printed by Daniel Jacomet and Co. A very good clean copy.<br/><br/> Maurice Legarrec unknown books
1929319368Paris: Maurice Legarrec 1929. #266 of 300 copies. 22 facsimile reproductions of letters decorated with watercolour drawings. Small 4to. Modern quarter blue morocco and linen sides. VG. #266 of 300 copies. 22 facsimile reproductions of letters decorated with watercolour drawings. Small 4to. Maurice Legarrec unknown books
199146468London: Macdonald Illustrated 1991. 4to pp. 318. List of plates. With 240 full-color illustrations. Black paper over boards. Two short splits at side of spine o/w a VG tight copy in little scuffed and chipped dj. Heavy. Excerpts from Manet's correspondence and conversations with a selection of his work in all media. Macdonald Illustrated unknown books
186336847Paris: Published by A. Cadart and F. Chevalier Editeurs rue Richelieu 66 1863. Etching. Printed on watermarked laid paper. Full sheet in excellent condition. This is a rich early impression before letters of Manet's famous print "The Gypsies."<br/> <br/>One of the most influential artists of the impressionist movement Manet is also regarded as one of the most important printmakers of the modernist era. This famous etching reproduces a painting that Manet executed in 1862. This print is the only evidence we have of the composition of the work since the original oil only exists today in separate fragments. According to Harris we know that the oil painting must have resembled the composition of the etching because a contemporary cartoonist penned a sketch of the work when it was on display in Manet's one-man show at the Pont de L'Alma. This image is considered one of the boldest etchings of Manet's oeuvre and technically it is a tour de force with its deeply bitten lines and open hatching. This effect creates a lively play of light across the surface producing a dynamic tension within the image that is truly compelling. In this finished state Manet has reworked the whole plate adding additional lines and hatching to reinforce the dark shadows within the image. He has added foliage and other details that did not exist in the trial proof state of this print creating a sense of depth within image which was lacking in the earlier state. Harris does not describe this state listing only a lettered impression published by Cadart for the Societe des Aqua-Fortistes publication in 1862 and 1863. She mentions a few known impressions before letters for the 1863 Manet portfolio but these images were printed on chine. Harris describes later printings published by Cadart in 1874 Gennevilliers in 1890 Dumont in 1894 and Strolin in 1905 where the lettering has been effaced but this cannot be a pull from those publications since the impression is so rich and the frontispiece states that it is the 1862-1863 edition. This rare image is a true collector's item from one of the greatest masters of modern art. It not only epitomizes Manet's revolutionary work but also demonstrates his skill as an engraver. 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/>Beraldi Les Gravures du XIXe Siecle Guide de l'Amateur d'Estampes Modernes vol. IX p. 207 no. 4 i/I; Harris Edouard Manet Graphic Works; A Definitive Catalogue Raisonne no.18 ii/ii. Published by A. Cadart and F. Chevalier, Editeurs, rue Richelieu 66 unknown books
1930183093Paris: Librarie de France 1930. Softcover. VG- shelfwear to wraps library bookplate inside front cover light age toning but plates are otherwise clear. Red and black illustrated portfolio wraps 5 pp followed by 24 unnumbered bw plates. Les Albums d' art Druet series Volume 14. Text is in French. Notice de Florent Fels. Librarie de France unknown books
198447039NY: Abrams 1984. Third printing. 4to. 548 pp w/indexes. Fine in very near fine dust jacket. 138 illustrations in full color 323 black-and-white. NY: Abrams unknown books
1954WRCLIT44331New Haven: Yale University Press 1954. Large octavo. Gilt navy cloth. Double- spread title-page. Plates. First edition. Backstrip somewhat sunned a few marks and faint damp blemishes at lower edges of boards ink name and date on endsheet otherwise better than a very good copy. Yale University Press hardcover books
1990D15124San Francisco: Alan Wofsy 1990. Revised Edition. Hardcover. Fine/Near Fine. Handsome clean copy in DJ spine lightly toned. Illustrated throughout. <br/><br/> Alan Wofsy hardcover books
BKH59AP
1926139394Paris: Henri Laurens Editeur 1926. Limited edition of 700 copies unnumbered. Softbound. Good binding solid clean and bright pages tears along fold with some peeling at each end of paper spine. Glassine cover torn with loss over half of spine and portion of lower front cover. Wraps cover by printed wrapper with portrait illustration on cover glassine over-wrap. 153 pp. deckled edges 161 monotone engravings with tissue protectors. Includes historical photographs along with many images of his works. Text in French. Henri Laurens, Editeur paperback books
12938Grasset 2001, broché avec jaquette, 298pp; envoi de l’auteur; très bon état
30493Grasset 2005, broché avec son bandeau, 318pp avec envoi de l'auteur - très bon état
71113Gallimard 3 octobre 1985, broché, 258pp - très bon état
6188Paris, Pierre Tisné, 1948 15 x 20, 112 pp., illustrations N/B et couleurs, cartonnage éditeur, bon état
29393Paris Alphonse Lemerre 1869 20 décembre 1868. 1 vol. 275 x 355 mm de 3 f. 84 p. et 2 f. table et d'achevé d'imprimer. Bradel de demi-maroquin bleu nuit à coins dos à nerfs orné de petits fers doré absolument non rogné couverture de simili parchemin imprimée conservée reliure signée de Émile Carayon. . Édition originale. Tirage à 350 exemplaires non numérotés. Hors commerce il a été tiré 20 exemplaires sur Whatman 12 sur Chine et 4 sur parchemin. Un des 12 exemplaires sur papier de Chine. . On doit à Philippe Burty l'idée d'avoir le premier jumelé poèmes et illustrations sous une forme d'anthologie en convoquant des peintres appelés à dessiner directement sur le cuivre pour illustrer les sonnets de poètes contemporains - dont beaucoup sont alors à l'aube de leur carrière littéraire. 41 eaux-fortes originales sont ainsi réalisées en réaction contre la gravure d'interprétation confrontant pour la première fois des peintres-graveurs à leurs contemporains - à l'exception de Victor Hugo qui « changea de camp » pour livrer son propre dessin gravé par Courtry en illustration de « L'Éclair » de son ami Paul Meurice. Le recueil rassemble ainsi 42 sonnets classés selon l'ordre alphabétique des auteurs chacun accompagné d'une eau-forte. L'histoire retiendra celle admirable de Manet illustrant un sonnet d'Armand Renaud « Fleur exotique ». Du côté des poètes on relève les noms de Banville Glatigny Gautier Heredia Leconte de Lisle Sainte-Beuve Verlaine et Anatole France ; du côté des artistes on retiendra Camille Corot Édouard Manet Gustave Doré Johan-Barthold Jongkind Jean-François Millet Félix Bracquemond Célestin Nanteuil Seymour Haden Léopold Flameng. Les ornements du texte sont gravés sur bois par Prunaire le graveur ami de Manet ; les planches furent détruites à l'issue du tirage ce qui scandalisa Millet : « Entre nous je trouve cette destruction de planches tout ce qu'il y a de plus brutal et de plus barbare. Je ne suis pas assez fort en combinaisons commerciales pour comprendre à quoi cela aboutit mais j'entends donc que si Rembrandt et Ostade avaient fait chacun une de ces planches-là elles seraient anéanties. » De fait l'ouvrage peut être considéré comme la première anthologie illustrée et comme le second livre de peintre après le Faust illustré par Delacroix en 1828. Le Fleuve de Charles Cros en 1874 illustré de 8 eaux-fortes de Manet constituant le troisième. Nous avons pu recenser trois des quatre exemplaires sur parchemin exemplaires Burty puis Béraldi relié par Marius Michel ; exemplaire Esmérian également relié par Marius Michel ; un exemplaire sans provenance relié par Auguste Petit et seulement deux des exemplaires sur Chine exemplaires Descamps-Scrive et Sicklès les deux reliés par Marius Michel. Peu sont donc en reliure strictement d'époque : le parchemin de Petit et ce chine de Carayon. Les autres sont légèrement postérieures sans doute au tournant du siècle. « Beaucoup d'exemplaires ont été détruits pour satisfaire à la demande des collectionneurs d'estampes qui ont extrait de ce livre les gravures de Corot Manet et Millet et autres afin de compléter en estampe l'oeuvre de ces artistes » Carteret. Bel exemplaire d'une grande rareté. Rauch n° 5 ; The Artist and the book n° 64 ; Carteret III 564 les exemplaires hors commerce sont « d'une grande rareté ». Paris, Alphonse Lemerre, 1869 (20 décembre 1868). 1 vol. (275 x 355 mm) de 3 f., [84] p. et [2] f. (table et d'achevé d'impri unknown
30726Paris, Louis Rouart et Fils, 1928. In-4°, 67p. Broché.
199614739Editions de l'Amateur 1996 In-8 relié. 107 pages. Bon état d’occasion.
1953AUB-8751Pierre Cailler, éditeur, Vésenaz-Genève 1953 . 2 Beaux volumes brochés, in-8, 249 pages et 251 pages avec tables.
1958AUB-9236Bâle, éd. Phoebus 1958. Bel exemplaire relié, reliure pleine toile, jaquette conservée, in-4, 20 pages + 32 planches + annexes.
186929393La première anthologie de peintres de l'histoire du livre illustré : un des douze exemplaires sur chine. Reliure d'époque par Émile Carayon. Paris, Alphonse Lemerre, 1869 (20 décembre 1868). 1 vol. (275 x 355 mm) de 3 f., [84] p. et [2] f. (table et d'achevé d'imprimer). Bradel de demi-maroquin bleu nuit à coins, dos à nerfs orné de petits fers doré, absolument non rogné, couverture de simili parchemin imprimée conservée (reliure signée de Émile Carayon). Édition originale. Tirage à 350 exemplaires non numérotés. Hors commerce, il a été tiré 20 exemplaires sur Whatman, 12 sur Chine et 4 sur parchemin. Un des 12 exemplaires sur papier de Chine.
21649Paris, Louis Rouart et Fils, éditeurs, 27 décembre 1928. In-4 (23 x 28,5 cm), broché, couverture imprimée en deux tons, 67 pp.
11004Louis Rouart et fils, 1928, In-4, br., non coupé, 67 pp.
