MANET, Edouard.MareMagnum
1 253 résultats
Cartella originale in-plano. Suite completa di 30 tavole, tiratura di 100 esemplari. Dopo la stampa le lastre sono state biffate, e sono ora conservate presso il Cabinet des Estampes della Bibl.Nationale di Parigi. Fogli a pieni margini di mm 445 x 320, su carta vergellata con filigrana Van Gelder o con giglio coronato e monogramma JGL; in basso a destra timbretto rosso editoriale con numerazione progressiva delle tavole, ripetuto sul passepartout originale. Ottime prove, nitidamente inchiostrate ed assai fresche, in perfetto stato di conservazione. Poco nota è l'opera grafica del primo dei pittori impressionisti, l'immortale autore del ''Déjeuner sur l'herbe'', benché abbia notevoli ripercussioni sugli incisori moderni. L'opera incisa di Manet (1832-1883) consta di oltre cento lastre, 76 delle quali acquaforti, e si colloca per lo più all'inizio della sua carriera, tra il 1862 e il 1868, anche se circa la metà di queste incisioni rimasero inedite sin dopo la morte dell'artista. Sebbene in gran parte ispirate a dipinti dell'artista (e anzi in certi casi utilissimi documenti di pitture andate perdute o distrutte da Manet stesso), non sono più stampe di riproduzione nella concezione settecentesca, ma diventano incisioni originali, veicoli autonomi per rappresentare le sue concezioni pittoriche. Altro suo merito fu l'aver compreso, insieme ai suoi editori, che l'incisione doveva cessare di essere un multiplo indefinito, per divenire l'opera unica di un artista unico, rara e ricercata sin dalla sua pubblicazione mediante una tiratura limitata. "Così come nella pittura, anche nella grafica Manet ricerca un linguaggio della modernità, l'espressione del transitorio e del contingente, e le innovazioni che mette in atto sono notevoli: l'utilizzo delle più svariate tecniche incisorie, l'apertura alla fotografia, alla fotoincisione, alla carta da riporto; la ricerca di differenti stati, inchiostrature e tipi di carta; ma, soprattutto, la pratica di una sorta di « riproduzione autografa» in cui l'artista interpreta se stesso: la trasposizione su lastra di certi dipinti dà adito ad una nuova riflessione sui metodi dell'incisione: c'è un'autentica trasfigurazione, più che una traduzione letterale del quadro". Nel 1862 Cadart pubblicò una cartella di 8 acquaforti, e nel 1874 una nuova raccolta tirata a 50 esemplari. Dopo la morte di Manet (1883), i 23 rami ritrovati nell'atelier dell'artista sono stampati dai suoi eredi nel 1890, mentre nel giugno 1894 Madame Manet cede i 23 rami già pubblicati ed altri 7 inediti all'editore L. Dumont, il quale esegue una tiratura di soli 30 esemplari. Il suo successore Strölin pubblica nel 1905 questa tiratura in 100 esemplari, avendo cura di bucare in seguito le lastre con due fori sul bordo della composizione, al fine di renderne impossibile una ristampa successiva.. GUÉRIN, L'oeuvre gravé de M. Paris, 1944. MOREAU-NÉLATON, E.Manet. Paris, Delteil, 1906. HARRIS, E.M. The graphic work. S. Francisco, 1990..
51-0523Paris: Alphonse Lemerre Editeur 1869. 10.5 x 14.5 inches. width x height 270 x 370 cm. Bound in contemporary red cloth. Original wrappers bound in. One of 350 copies this one certified by the printer of the text J.Claye and of the etchings A. Salmon. The editor who selected the poets and artists was Philippe Burty. This is considered the first livre de peintre with text by the major poets of the period and accompanying full page etchings by the major French artists of the mid Nineteenth century. There are 42 etchings. This one includes a second copy of the etching by 10 artists .VICAIRE.MANUEL DE L'AMATEUR de Livres du xixe siècle1801-1893579SONNETS et eaux-fortes. MDCCCLXIX. Alphonse Lemrerre éditeur Paris Impr. J. Claye in-fol. couv. impr.1 f. faux-titre; au v° justification du tirage ; 1 f. titre rouge et noir orné d'un dessin de E. Renard gravé sur boispar A. Prunaire; x f. « Aux poëtes et aux artistes qui ont collaboré à cette OEuvre à M. Philippe Burty qui en adirigé l'illustration. L’éditeur reconnaissant A. Lemerre » ; 42 ff. sonnets; 1 f. n. ch. table; et 1 f. n. ch. achevéd'imprimer.45 42 in fact eaux-fortes et 1 dessin hors texte savoir1° La Mer sonnet de Jean Aicard eau-forte de Léon Gaucherel.2° Le Masque sonnet de Joseph Autran eau-forte d'Emile Lévy.3° Promenade galante sonnet de Théodore de Banville eau-forte d'Edmond Morin.4° To Kalon sonnet d'Auguste Barbier eau-forte de Giacomotti.5° Le Sang des géants sonnet de Louis Bouilhet eau-forte de Célestin Nanteuil.6° Le Sphinx sonnet d'Henri Cazalis eau-forte de Queyroy.7° Le Lion sonnet de Léon Cladel eau-forte de Gustave Doré.8° Le Fils de Louis XI sonnet de François Coppée eau-forte de Charles Courtry.9° Supplice de Judas sonnet d'Antoni Deschamps eau-forte de Veyrassat.10° Dernier mirage; sonnet d'Émile Deschamps eau-forte de Ranvier.11° Révolte sonnet de Léon Dierx eau-forte de G. Howard.12° Les Incroyables sonnet d'Emmanuel des Essarts eau-forte de Jundt.13° Un Sénateur romain sonnet d'Anatole France eau-forte de Gérôme.14° Promenade hors des murs sonnet de Théophile Gautier eau-forte de Leys.15° Le Roman comique sonnet d'Albert Glatigny eau-forte de Félix Régamcy.16° La Salina sonnet d'Edouard Grenier eau-forte d'E. Edwards.17° Les Conquérants sonnet de José-Maria de Heredia eau-forte de Claudius Popelin.18° La Rookery sonnet d'Ernest d'Hervilly eau-forte de Seymour Haden.19° Le Pays inconnu sonnet d’Arsène Houssaye eau-forte de Tancrède Abraham.20° La Fontaine sonnet de Georges Lafenestre eau-forte de Lansyer.21° Au bord du puits sonnet de Victor de Laprade eau-forte de Francais.22° Réverie sonnet de Laurent-Pichat eau-forte de Jules Héreau.23° Le Combat homérique sonnet de Leconte de Lisle eau-forte de Léopold Flameng.24° Paysage normand sonnet d'André Lemoyne eau-forte de Corot.25° Batavia sonnet de Robert Luzarche eau-forte de Jongkindt Jongkind.26° Le Verger sonnet de Gabriel Marc eau-forte de Daubigny.27° La Pivoine sonnet de Judith Mendès eau-forte de Jacquemart.28° Théodora sonnet de Catulle Mendès eau-forte d'Ingomar Frankel.29° Sur une composition de F. Millet sonnet d'Albert Mérat eau-forte de F. Millet.30° L'Eclair sonnet de Paul Meurice dessin de Victor Hugo.31° Le Dernier amour de Charlemagne sonnet de Claudius Popelin eau-forte d'Ehrmann.32° Fleur exotique sonnet d'Armand Renaud eau-forte de Manet.33° Théroigne de Méricourt sonnet de Louis Xavier de Ricard eau-forte de Victor Giraud.34° Le Pont des Arts sonnet de Sainte-Beuve eau-forte de Maxime Lalanne.35° Une grande douleur sonnet de Joséphin Soulary eau-forte de Ribot.36° Silence et nuit des bois sonnet de Sully Prudhomme eau-forte d'Hédouin.37° Nénuphars sonnet d'Armand Silvestre eau-forte de Feyen-Perrin.38° Souvenir du Bas-Bréau sonnet d'André Theuriet eau-forte de Michelin.39° L'Éclipse sonnet d'Auguste Vacquerie eau-forte de Bracquemond.40° La Chute sonnet de Léon Valade eau-forte de Solon.41° Le Pitre sonnet de Paul Verlaine eau-forte de Rajon.42° Après la harangue sonnet de Jean Vireton eau-forte de Boilvin. Paris: Alphonse Lemerre Editeur, 1869. hardcover
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
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.
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
186782102Paris:: E. Dentu 1867. First edition. handsome later half morocco and marbled sides t.e.g.; elaborately gilt spine. Some extremely light marginal foxing to the margins of the text; original etching of Olympia and the portrait fine; binding fine. . 8vo. Accompagnee d'un portrait d'Ed. Manet par Bracquemond et d'une eau-forte d'Ed. Manet d'apres Olympia. E. Dentu, unknown
186336847Paris: Published by A. Cadart and F. Chevalier Editeurs rue Richelieu 66 1863. Etching. Printed on watermarked laid paper. Full sheet in excellent condition with the Cadart waternark. This is a rich early impression 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 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
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
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
1975C128899Bibliotheque Des Arts. As New. 1975. Hardcover. - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee Complete Works -- with a bonus offer-- - May be EITHER: out of print OOP and extremely rare in this pristine condition; signed by author or contributor; or a first or special edition; inquire for details . Bibliotheque Des Arts hardcover
186918641Paris, Alphonse Lemerre, 1869. In-8 de [4]-109-[7] pages, demi-maroquin lie-de-vin à coins, dos à nerfs, tranches dorées, couvertures et dos conservés. Reliure signée Semet & Plumelle.
1884281623Paris: A. Quantin 1884. First. hardcover. very good. Edouard Manet. Illustrated with two original Manet etchings "L'Odalisque Couchee" and "La Convelescente." 3 etched plates by Henri Guerard after Manet 6 heliogravure plates after Manet a facsimile letter and other illustrations throughout. 150 pages. 8vo contemporary half black calf over green boards; some scuffing to extremities. Paris: A. Quantin 1884. First edition complete with all illustrations. A very good copy of this scarce book with very clean interior. Inscribed by the author to Gustav Geoffrey on a preliminary page.<br/><br/> The first biography of Manet written by his good friend Edmond Bazire and published just 9 months after Manet's death. --Guerin 50 & 65.<br/><br/> A. Quantin unknown books
1884281623Paris: A. Quantin 1884. First. hardcover. very good. Edouard Manet. Illustrated with two original Manet etchings "L'Odalisque Couchee" and "La Convelescente." 3 etched plates by Henri Guerard after Manet 6 heliogravure plates after Manet a facsimile letter and other illustrations throughout. 150 pages. 8vo contemporary half black calf over green boards; some scuffing to extremities. Paris: A. Quantin 1884. First edition complete with all illustrations. A very good copy of this scarce book with very clean interior. Inscribed by the author to Gustav Geoffrey on a preliminary page.<br/> <br/> The first biography of Manet written by his good friend Edmond Bazire and published just 9 months after Manet's death. --Guerin 50 & 65.<br/> <br/> A. Quantin unknown
1910189996London Grant Richards; J. B. Lippincott Company Philadelphia 1910. Important monograph on Manet First British edition of the first work to describe the development of Impressionism with a chapter on each of the major painters and many illustrations. The author Theodore Duret 1838-1927 was one of the earliest and most vocal supporters of the movement. He first met Manet in 1865 and the two became good friends with the artist painting the connoisseur three times. During the 1870s Duret began writing articles championing the new movement and this his most important work was published in 1878 to accompany the fourth Impressionist exhibition in Paris. Duret also collected and promoted the work of the pre-Raphaelites was an early devotee of Asian art particularly Japanese prints and coined the term avant-garde. Quarto. Half-tone frontispiece 2 original etchings by Renoir and one each by Morisot and Manet 2 wood engravings after Manet and one each after Degas and Camille Pissaro 31 half-tone reproductions. Original blue cloth lettering to spine and front cover gilt top edge gilt others untrimmed. Cloth rubbed to edges otherwise internally bright and clean a very good copy. hardcover
19192113Chez Ambroise Vollard, Paris, 1919. Un fort volume in-4 (32,1 x 24,7 cm) broché, 261 pages, couverture illustrée imprimée rempliée. ÉDITION ORIGINALE comprenant en frontispice: 1 EAU-FORTE ORIGINALE "BAIGNEUSE ASSISE" TIMBRÉE DE LA SIGNATURE DU MAÎTRE (vers 1897 - Delteil 11 ; Lugt 2137A). Illustration de l'ouvrage: 1 lithographie en couleurs hors texte, 51 héliogravures sur cuivre en hors-texte et environ 175 illustrations (dessins) en noir dans le texte. Tirage : 1 des 525 exemplaires numérotés sur vélin d'Arches teinté. Broché tel que paru, non rogné. L'ouvrage, malgré quelques rousseurs habituelles (mais bien moins que d'habitude !), est en très bon état, même excellent. La gravure originale de Renoir est en très bon état de conservation. —— ENGLISH DESCRIPTION : LA VIE ET L'ŒUVRE DE PIERRE-AUGUSTE RENOIR, "Baigneuse Assise" (D.; S. 11) Etching, 1897, on wove paper, from the total edition of 1,525, with wide margins, the palest light- and time staining, a few very soft creases, a few minute foxmarks in the margins,otherwise in excellent condition. Comes with the book "LA VIE ET L'ŒUVRE DE PIERRE-AUGUSTE RENOIR" (A. Vollard 1919). Paperback as published, untrimmed. Illustrated with 1 color lithograph in full page, 51 heliogravures on copper off-text and around 175 illustrations (drawings) in black in the text. The book, despite some usual foxing (but much less than usual!), is in very good condition, even excellent. The original Renoir's etching is in excellent condition. P. 8.78 x 5.4 in. (220 x 138 mm.) S. 12.6 x 9.7 in. (321 x 247 mm.)
In 8°, mz. pelle moderna, tit. in oro al dorso (conservata la br. orig. ill. a col.), pp. (12nn)-301.(1bnn)-(10nn). Edizione originale corredata compless. da 23 tavv. f.t. ivi comprese 2 incisioni originali all'acquaforte di Edouard Manet, "L'Olympia" e "L'Enfant an chien" (rame), molte ill. a piena p. n.t (raffiguranti opere pittoriche dell'artista), decine di piccole ill. intercalate n.t., anche a col. Eccellente conservaz.
199360018Bucknell University Press; Et Al. New. 1993. Hardcover. 0838751954 . FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 282 pp. With 209 ills. 59 col. . 32 x 24 cm. -- with a bonus offer-- . Bucknell University Press; Et Al hardcover
186973544Paris: Alphonse Lemerre 1869. Fine. Alphonse Lemerre Paris 1869 12 x 18.50 cm relié Charles Baudelaire. Sa vie et son uvre Alphonse Lemerre Paris 1869 12 x 18.5 cm half morocco First edition on thick paper of the first biography devoted to Charles Baudelaire who had died two years prior. Half navy morocco over marbled paper boards Bradel binding by Alfred Farez the spine slightly faded marbled endpapers and pastedowns covers and spine preserved. This copy complete with the 5 etching portraits of Charles Baudelaire by Edouard Manet Gustave Courbet Emile Deroy and Charles Baudelaire himself. Edouard Manet engraved the two of his Félix Bracquemond the three others. Autograph inscription signed by Charles Asselineau to the publisher and bibliophile Léon Techener. Alphonse Lemerre hardcover
196184810J. Mathey / F. de Nobele. As New. 1961. 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. 33 pages of text 135 illustrations; 4to. -- with a bonus offer-- . J. Mathey / F. de Nobele paperback
7046Manet Edouard. Manet Edouard. CHAPEAU ET GUITARE FRONTISPIECE FOR AN EDITION OF ETCHINGS. Harris 39 Guerin 22. Etching and Aquatint 1874 state 3 after removal of the letters. Probably from the Strolin editon of 100 published in 1905. 9 1/8 x 8 1/2 inches. In very good condition. unknown
7047Manet Edouard. Manet Edouard. LE BUVEUR D'EAU. Harris 43 Guerin 22. Etching 1865 1st state. 9 3/8 x 6 3/8 inches; 239 x 160 mm. On Van Gelder Zonen laid paper and likely from the 1905 edition of 100 published by Strolin. A very good impression in very good condition. unknown
9750Paris, A. Quantin, 1884. In-8, (4)-145-(7) pp., reliure demi-chagrin rouge, dos orné ( déchirure au mors supérieur, petites épidermures en tête du dos, marges un peu jaunies).
186973544Alphonse Lemerre | Paris 1869 | 12 x 18.50 cm | relié
1869128371869 P., Alphonse Lemerre, 1869, 1 vol. in-12 (182 x 115 mm), relié 1/2 basane marron époque, dos lisse, auteur, titre et série de 6 double-filets dorés, plats de papier marbré lie-de-vin, de (2) ff. (faux-titre et titre) - 109 pp. - (1) f. (table).Dos légèrement insolé, pâles rousseurs éparses.
2003102609Museum. New. 2003. Paperback. 0876331754 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 271 pages. -- with a bonus offer-- . Museum paperback
