573 résultats
201195764University Press of New England Distribution. New. 2011. Paperback. 0918333059 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 56 pp. ; 39 illustrations including 23 in color. -- with a bonus offer-- . University Press of New England (Distribution) paperback
198486263Bussière Arts Graphiques 1984. Fine. Bussière Arts Graphiques vers 1984 17.70 x 12.70 cm 25 films-contacts dans une boîte en carton 25 color shots of Claude Monet's Water Lilies in the form of transparent contact films individually preserved in a plastic sleeve. Each photograph is captioned in the margins with white marker. The entire set is stored in the original box of 'Typon graphic arts film' transparent supports bearing a label from the Bussière Arts Graphiques company with the inscription 'Nymphéas de Monet / Jeu de Paume / Avant Restauration'. The contact films were used to produce high-quality offset prints a specialty of the Bussière company which notably collaborated with Gallimard for its prestigious art publications. A true 'condition report' of exceptional rarity of the Water Lilies before restoration these contact films are an extraordinary documentary and aesthetic addition to the modern history of Claude Monet's masterpiece. Bussière Arts Graphiques unknown
188988035Paris: Galerie G. Petit 1889. Fine. Galerie G. Petit Paris 1889 16 x 24.50 cm broché First edition of the exceptionally rare catalog of Claude Monet and Auguste Rodin's dual exhibition at the Georges Petit gallery in Paris. With introductory essays by Octave Mirbeau for Monet and Gustave Geffroy for Rodin. The catalog features 145 paintings by Monet and 36 sculptures by Rodin in chronological order including the famous Impression soleil levant Impression Sunrise as well as Le Penseur The Thinker still described as a part of the Gates of Hell for which it was originally created. Small restoration to head of spine title and dates penned on spine traces of stamp on front pastedown scattered foxing thoughout. Rare copy of the exhibition catalog of Claude Monet and Auguste Rodin: the greatest of the Impressionists and the most famous sculptor of his time united by their love of nature and their tireless quest towards artistic ideal. ""Rodin and Monet were bound by a lifelong friendship and reciprocal admiration. While they were true contemporaries born within two days of one another in November 1840 it is hard to pinpoint when they actually met. They were almost certainly introduced by mutual friends like writers and critics Octave Mirbeau and Gustave Geoffroy or the art dealer Paul Durand-Ruel. On his return from Belle-Île in 1886 Monet is known to have started attending dinners held by the ""Bons Cosaques"" a group of artists and men of letters gathered together by Octave Mirbeau. Rodin also frequented these literary and artistic dinners that contributed to the intellectual effervescence of the period and challenged Academicism. By the time of the exhibition held at the Galerie Georges Petit in 1889 the four protagonists Rodin Monet Mirbeau and Geffroy definitely knew and already respected each other. On a visit to the Mirbeau family near Auray Brittany in 1887 Rodin saw the ocean for the first time and is said to have exclaimed: ""It's a Monet!"" To Mirbeau's way of thinking Rodin and Monet had embarked on the same artistic adventure and were destined to be equally successful. In November 1886 he wrote to Rodin about the paintings that Monet was going to exhibit at Petit's gallery the following year: ""He works hard and in my opinion he has done great things: it will be a new facet of his talent; a formidable awe-inspiring Monet of whom we were unaware. Our friend Monet is a heroic man of courage and if anyone deserves to succeed alongside you it's him. . the dual exhibition was a great success with the public and critics. According to Mirbeau Monet and Rodin embodied ""most gloriously and most definitively the two arts of painting and sculpture"" Rodin Museum. Galerie G. Petit unknown
190480561Paris: Galerie Durand-Ruel 1904. Fine. Galerie Durand-Ruel Paris 1904 10 x 17.50 cm relié First edition of the exhibition catalogue presenting 37 works by Claude Monet at the Galerie Durand-Ruel from 9 May to 4 June 1904. During the exhibition most of the paintings were immediately purchased by American collectors. Binding in vellum-effect paper boards names of the catalogue preface writer and the painter inscribed in ink water-effect paper endpapers covers and spine preserved curious ex-libris drawn by H. P. Gassier glued to a pastedown endpaper binding signed Gonon. Preface by Octave Mirbeau. A rare and pleasant copy. Galerie Durand-Ruel hardcover
66970Paris Levrault Schoell et Cie. An XIII - 1805. 4to 27.5 x 21.3 cm. 27 pp. numbered 26-52. Original printed wrappers. = This work by the eminent French naturalist Jean-Baptiste de Lamarck 1744-1829 is very important for two reasons. First it is the first work to contain observations on the geology of Australia in particular answering the question whether a higher sea-level in past geological time was or was not a global phenomenon. Lamarck received crucial information from the French naturalist and explorer François Péron 1775-1810 who was on board when the expedition by Baudin set sail with the ships Naturaliste and Geographe. Dispatched by Napoleon the aim of the expedition was to investigate and possibly claim the unknown South-Land before the British. Péron sent his data before he himself and the appointed geologists of Baudin's expedition published their "official" accounts. The second reason why this paper is important to the history of science is that it contains the first version of Lamarck's own "theory of the earth" forming the basis for his evolution-theory and showing Lamarck's way of thinking and thus why his colleagues and competitors frowned upon his work. As Frederick Gregory pointed out: "To Lamarck hypothetical reasoning was a necessary piece of a scientist's equipment. Certainly one must not abuse the judicious application of hypotheses by creating a theory out of mid air - Lamarck was not one to condone lack of attention to fact and detail. But to refuse to generalize at all beyond the immediate testimony of the facts was an equally faulty scientific procedure: I believe that the course of silence is good for nothing. Every effort to lift the veil which hides nature's operations from us is useful. A mediocre idea often gives birth to a better one and by force of trying one will perhaps obtain some success. All that is important in such circumstances is to give as certain only that which is clearly demonstrated'." Lamarck's Neptunean views were later proven to be wrong but they do form a basis for his famous theory of natural selection. Later challenged successfully by Darwin it now appears from gene-data that several aspects of Lamarck's theory may in fact be operational in natural selection. This paper was published in the famous Annales du Muséum d'Histoire Naturelle. With the original printed wrappers and accompanied by two other geological papers by Faujas-Saint-Fond Voyage géologique à Oberstein and by Vauclin Analyse des topazes de Saxe de Sibérie et du Brésil. Uncut. Wrappers a bit frayed at edges as usual with uncut items. Some scattered spotting otherwise a very good clean copy. F. Gregory J.-B. Lamarck and the Philosophy of Nature in France University of Florida edu website. Not in Ferguson. unknown
1922106191Les Editions G. Crès & Cie. As New. 1922. Hardcover. 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. 362 pages. -- with a bonus offer-- . Les Editions G. Crès & Cie. hardcover
1991403365Paris: La Bibliothéque des Arts 1991. 5 volumes folio. Numerous color plates and black and white illustrations throughout. Original blue cloth gilt-lettered on front covers and spines; pictorial dust jackets. A few with minor nicks some slight fading at edges light shelfwear. FIRST EDITION. La Bibliothéque des Arts unknown
1981C86659Flammarion. As New. 1981. Hardcover. 2080112171 . 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 - - 115 pages with over 400 illustrations including 64 in color Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee uvre Oeuvre 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 . Flammarion hardcover
3-68089Paris chez l'Auteur e Chez Deterville 1801 8vo cm. 20 x 13 bella legatura in piena pelle rossa moderna con cornice dorata ai piatti fregi e titoli dorati al dorso pp. VIII 432 2: 402bis con otto tabelle sei grandi ripiegate fuori testo. Prima edizione second addition del più importante contributo malacologico di Lamarck. In quest'opera lo zoologo e botanico francese pose fine al regno dell'originale e artificiosa sistematica linneana introducendo ad esempio molte nuove classi animali e il termine “invertebrati†oltre a numerosi nuovi generi in particolare di conchiglie e insetti. Il libro costituisce un preludio alla sua Philosophie Zoologique pubblicata nel 1809. Esemplare in ottime condizioni. unknown
198186659Flammarion. As New. 1981. Hardcover. 2080112171 . 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 - - 115 pages with over 400 illustrations including 64 in color Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee uvre Oeuvre Complete Works Flammarion hardcover
1985C86660La Bibliotheque Des Arts. As New. 1985. Hardcover Mongraph. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- Volume 4. Text in French. 443 pages; well-illustrated. 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 . La Bibliotheque Des Arts hardcover
1992C86662Bibliotheque Des Arts. As New. 1992. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Volume 5. Over 300 pages with many illustrations in black and white. 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
1985stela1483Lausanne-Paris: La Bibliothèque Des Arts 1974-1985. 1985. 4 volumes. folio. pp. 461; 305; 312; 443. French text. over 1983 illus. in b/w & colour. illus. endleaves. bio. index. cloth. dw. minor edge wear light stain to back cover of volume 4. Catalogue Raisonné. Freitag 6687. Hardcover. Very Good/Dust Jacket Included. Lausanne-Paris: La Bibliothèque Des Arts, 1974-1985. Hardcover
180291311Paris: MaillardChez l'AuteurAgasse 1802. Fine. ""Very rare first edition enriched with an autograph manuscript by Lamarck"" Maillard Chez l'Auteur Agasse Paris An x 1802 12.8 x 20.4 cm Relié First edition very scarce of this important work. Contemporary-style half speckled fawn calf binding smooth spine decorated with triple gilt fillets green shagreen title label small vellum corners marbled paper boards bookplate pasted onto a pastedown red edges modern binding. A restored loss to the left margin of the title page. Hydrogéologie contains Lamarck’s geological observations gathered during his travels in Germany Hungary and France. Its principal merit lies in demonstrating the considerable importance of plants and animals as agents of geological transformation. It is in this work that the word biology appears for the first time on page 8 which Lamarck regarded as an appropriate term for the sciences of life. ""Lamarck's geology was closely connected with his work in other fields. His Hydrogéologie which grew out of a 1799 memoir presented to the Academy and his work in invertebrate paleontology was published in 1802. He originally intended it to be a much broader work as the manuscript shows … It was to have been a terrestrial physics including meteorology geology and biology a term he coined. He had not only a sense of interrelation of fields but within geology a vision of the whole. He saw all of nature working according to similar principles : general natural tendencies producing gradual change over long periods of time with local circumstances explaining the irregularities. His approach to geology was similar to that in other sciences : concern with the general principles and contempt for those who interested themselves too much with the specifics"". Cf. Leslie J. Burlingame notice ""Lamarck"" in: D.S.B. A remarkable copy enriched with a 6-line autograph manuscript by Lamarck inserted between pp. 56 and 57 providing details on an ancient masonry discovered in the Somme department and attesting to an earlier shoreline: ""L'abbaye de Valoir près de l'Authie dépt. de la Somme conserve encore dans ses fondations et ses caves les restes d'une maconnerie tres ancienne soupconnée romaine dans lesquels on voit les anneaux pour amarer les batimens marins et des eperons de vaisseau accompagnés de beaucoup de petrifications ; ce qui prouve qu'alors c'etoit un quai ou arrivoient les eaux de la mer"" s.l.n.d. 1 p. oblong 16mo. A very good copy.  MaillardChez l'AuteurAgasse hardcover
198586660La Bibliotheque Des Arts. New. 1985. Hardcover Mongraph. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- Volume 4. Text in French. 443 pages; well-illustrated. Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee Complete Works La Bibliotheque Des Arts hardcover
199286662Bibliotheque Des Arts. New. 1992. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Volume 5. Over 300 pages with many illustrations in black and white. Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee Complete Works Bibliotheque Des Arts hardcover
1997C86661Taschen. As New. 1997. Hardcover. 3822885592 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- FOUR 4 VOLUME SET. 1060 pages with profuse illustrations in color and black and white. 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 . Taschen hardcover
1883Double-page autograph postcard written in ink. Dated on September 28 1910. Addressed to Claude Monet in Giverny. Notes on recto in pencil. Otherwise in fine condition. Double-page autograph postcard written in ink. Dated on September 28 1910. Addressed to Claude Monet in Giverny. <p><br /> Autograph postcard by Renoir to Monet.<br /> <p><p><br /> Renoir informs Monet that he’d like to visit him at his house in Giverny together with his wife and with Paul Durand-Ruel one of the most important French art-dealers of the time or Durand-Ruel’s son Joseph.<br /> <p>. unknown
199786661Taschen. New. 1997. Hardcover. 3822885592 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- FOUR 4 VOLUME SET. 1060 pages with profuse illustrations in color and black and white. Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee Complete Works -- with a bonus offer . Taschen hardcover
190639070Paris: H. Floury 1906. A pristine deluxe copy of the most important early monograph on impressionism COMPLETE WITH ELEVEN ORIGINAL ETCHINGS BY RENOIR 5 PISSARRO 2 CEZANNE 2 AND GUILLAUMIN 2. IV 214 pp plus numerous hors-texte plates in two states. ONE OF ONLY 100 COPIES PRINTED ON IMPERIAL JAPANESE PAPER WITH THE PLATES IN TWO STATES. Includes the following original etchings: 1 Pissarro "Faneuses" 1890 Delteil 94 in bistre on Japanese paper and in black on Dutch laid paper. 2 Renoir "Femme nue assise" 1906 Delteil 12 in bistre on Japanese paper and in black on Dutch laid paper. 3 Renoir "Femme couchée tournée à gauche" 1906 Delteil 15 in sanguine on Japanese paper and in black on Dutch laid paper. 4 Renoir "Femme nue couchée tournée à droite 2e planche" 1906 Delteil 14 in sanguine on Japanese paper--this etching appears ONLY in the deluxe edition of the book. 5 Cézanne "Guillaumin au pendu" 1873 Cherpin 2 in bistre on Japanese paper and in black on Dutch laid paper. 6 Guillaumin "Vue prise de Saardam" in black on Japanese paper and printed in colors on wove paper. Also includes in two states "Le laboureur" an original woodcut by Lucien Pissarro after Camille Pissarro and "Bords du Loing" an etching by Roy after Sisley. 4to. A PRISTINE COPY IN THE ORIGINAL DECORATED WRAPS WITH PAPER LABELS ON FRONT COVER AND SPINE in the original board slipcase. Completely uncut. Minimal wear to wraps otherwise FINE AND BRIGHT WITH THE ETCHINGS IN PERFECT CONDITION. Most copies were broken up for the original prints and most of the remaining copies were rebound so a pristine copy like this one is a very rare survival. <br/><br/> H. Floury paperback
190687491Paris: H. Floury 1906. Fine. H. Floury Paris 1906 20.50 x 27 cm relié First edition one of 100 copies on Japon the only deluxe issue. Navy blue half shagreen with slight color restoration spine with five raised bands abundantly framed in gilt blue watered silk flyleaves marbled endpapers and pastedowns original wrappers and spine preserved gilt top edge binding signed J. Querelle. A superb copy on japon of the first authoritative publications on the history of Impressionism and the first bibliophile edition centered around this movement. Illustrated edition with 6 original etchings by Pissarro Les Faneuses; Renoir Femme nue assise and Femme nue couchée; one of only three etchings ever made by Cézanne Portrait of Guillaumin; Armand Guillaumin Vue près de Saardam - the copy is complete with the additional etching by Renoir on bistre Seated Nude Woman' reserved for copies on japon. The work also features a frontispiece rotogravure of Fantin-Latour's Atelier aux Batignolles. In addition to the six original etchings the book features 21 full-page plates including a colour rotogravure of Monet's famous Impression sunrise and no fewer than 105 reproductions of works and portraits of artists in the text. Théodore Duret paints here the great history of the movement he championed collected and theorized from its very beginnings. As early as 1878 he had published a small study that made him the first historian of these artists if not of the group itself just four years after their first exhibition at Nadar's studio. Twenty years after the last Impressionist exhibition Duret establishes the comprehensive story of this artistic revolution: ""For the early twentieth century and the decades to follow the history of Impressionism is Duret's 'The history of the Impressionist painters'."" Laura Iamurri. Renowned for its chronological accuracy - although in many cases Duret recalls events from his own memories - this work became a reference and was widely reprinted and translated London: Grant Richards 1910; Berlin: B. Cassirer 1909. Duret dedicates a monograph to each painter he mentions with the exception of Caillebotte and places Berthe Morisot in what he refers to as ""the core group of Impressionists."" Absent from his 1878 study Paul Cézanne now considered a post-Impressionist and Armand Guillaumin make their appearance here. A true art gallery on papier japon this text of reference for generations of readers' Laura Iamurri was the first to find a legitimate place for Impressionism in French art history. Not in Carteret. Etchings by Renoir Delteil 12 14 15; Camille Pissarro Delteil 94/XII Cézanne Venturi 1159; Armand Guillaumin Armand Guillaumin 1841-1927 gravures et lithographies 1995 p. 41. H. Floury hardcover
1909205221New York: Self-Published 1909. First Edition; First Printing. Ephemera. Autograph letter in French signed by Claude Monet regarding the shipment of his paintings one page on his personal stationery measuring 8.25 by 5.25 inches. Created in Giverny France on December 6 1909. Sunning fading to the ink and evidence of mounting on the verso.; Penned and signed by Claude Monet.; Signed by Author. Self-Published unknown
190013587JLondon: 3 pages octavo February 28 1900. A remarkable historic letter quoted and discussed in Daniel Wildenstein’s definitive Claude Monet biography Monet or the Triumph of Impressionism page 348. Written in French on the printed stationery of the Savoy Hotel in London during one of Monet’s most important periods while he was painting his classic series of the bridges over the Thames river and the Houses of Parliament attempting to capture the unusual and often spooky effects of light and fog while looking out his window at the Savoy Hotel. Monet has dated the letter at 10 a.m. and literarily stops in the middle of painting to quickly write to his wife. “.A few words in haste between two strokes so that you get news before you leave for Rouen.†Monet’s son is ill with the measles and is staying with English friends who were taking care of him while he recovers. “.I could not see Michel yesterday because Mr. Darby was not expected to come back here unless Michel felt worse and he did not show up which is a good sign. I will go immediately to see him tonight because he must be truly bored but as the days grow longer I am more and more busy. I think I will take care of him for the revision but without letting him now.†Monet’s great friends French politician Georges Clemenceau and art critic and Monet supporter Gustave Geffroy visited Monet during his London sojourn. “.Clémenceau and Geffroy left a while ago we dined together yesterday at the restaurant at the Savoy after we saw the Minstrels at St. James. Both of them were very nice and did not prevent me at all from working.†Monet then remarks on his artist friend the great American painter John Singer Sargent who had worked in France becoming good friends with Monet and after the public scandal of Sargent’s daring Portrait of Madame X had relocated to London. “.I just received a note from Sargent who apologizes for not having come by to see me because he has people sitting for him morning and afternoon. He invited me for dinner this coming Monday so that I may meet a couple of young artists who love my work.†Often waiting hours for just the right effect of light to take place while painting a scene Wildenstein writes in his biography “Like a sentinel on the city wall the painter would lie in wait for the returning effect. When it came Monet rushed to his canvas abandoning everything else.†In this letter Monet finds that the light has reached the right effect and time has come to return to his painting. “.But here comes my effect. I must leave you for today. I send you tender hugs and all of my thoughts. Love to Germaine. Regards to Miss Jeans. Your old man who loves you Claude.†Wildenstein remarks that when Monet came to receive Sargent at the Savoy “.the visitor was ‘a little astonished by some of the canvases but full of admiration for others’. In fact the main impression Sargent took away was of too many pictures in progress simultaneously.he watched Monet struggling surrounded by 80 canvases searching desperately for the right one when the effect he was waiting for occurred and as often as not unable to lay hands on it until the effect had passed.†Wildenstein also notes that in Geffroy’s book Claude Monet he devotes four pages to his visit to Monet at the Savoy quoting Geffroy “.Whenever the fog had completely blotted out the the view Monet would remark: ‘Theres no more sun and stop painting. When a little later he would all of the sudden pick up his palette again saying ‘The sun is back ‘ his guests were often bemused. It took them a good while before they could discern the faint premonitory glow of the emerging sun. Monet alone had been able to detect it.†3 pages, octavo unknown
