1 203 résultats
192045044München 1920. Aus dem Manuskript übertragen von Erik-Ernst Schwabach. Diese deutsche Ausgabe erschien vor der ersten französischen Ausgabe Papier stockfleckig. EA Kurt Wolff Verlag 8°. Ln. Kunst unknown
1920458930Munchen: Kurt Wolff Verlag 1920. Hardcover. Very Good. Presumed first edition. Octavo. 240pp. Text in German. Pictorial tan cloth. Foxing on cloth very good without dustwrapper if issued. Kurt Wolff Verlag hardcover
3958014585.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
3060New York: Reynal and Company. Very Good in Very Good dust jacket. Not Stated. Hardcover. Reynal and Company hardcover
42882Museum Reproductions. Very Good. N.D. Softcover. Oversized black paper portfolio titled/decorated in red housing 10 loose color wood cut plates by Gauguin plus introductory text leaf. List of plates: The Smile; Feast of the Gods; The Devil's Speech; Noa Noa Oh Fragrant Earth ; The Spirit of the Dead Awakens; Te Po The God of Darkness ; Maruru; Oh Beautiful Earth; Auti Te Pape; World's Creation. Re-engraved and printed with the help of silk screen from the originals that were issued in an extremely limited edition by the artist's son Pola Gauguin after his father's death. The portfolio is worn to the spine with slight soil. The plates are near fine or better. ; Folio 13" - 23" tall . Museum Reproductions paperback
200370997ADAGP. New. 2003. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- with a bonus offer-- . ADAGP paperback
1907787771907. Fine. s. d. 1907 12.40 x 18.90 cm une feuille Original color proof of a woodcut inspired by the work of Gauguin and engraved by George-Daniel de Monfreid for a frontispiece project remaining unpublished of Victor Segalen's Les Immémoriaux. Only one other original color proof and one print run in black and white see below are known to date. Printed in two tones green and brown on old Japan and enhanced with gilt painting by the artist. This engraved woodcut was to illustrate as a frontispiece the original edition of Segalen's Les Immémoriaux an ethnographic novel directly inspired by his trip to Polynesia following in Gauguin's footsteps. Segalen therefore asked the painter's follower and closest friend to produce it to whom he also offered Noa Noa bought in Papeete during the auction sale of Gauguin's goods. A mutual friendship and admiration was then born between Segalen and Monfreid under the tutelary aegis of the late painter. It is also in constant reference to the Master that the two friends produce this frontispiece to which Segalen attached great importance but which he will be obliged to abandon due to publishing costs: This is a lot more interesting for me: what will you do for my plate If I dared to imagine something it would be a formidable full-face figure very plain very worn and of an androgyne with male tendences; in short the Maori type described by Gauguin in his Noa Noa and produced by him in the carved wood that remained in Tahiti face of a woman comparable to that which you possess and of which I gave you a photograph I believe. . Are you in favor of reserving your frontispiece for luxury and friends' copies or of prostituting it in current copies Allow me to renew a timid desire expressed at your Vollard exhibition: if you print some more proofs from your color engravings in pochoir do not forget me. Brest 2 November 1906. Monfreid's response 8 January 1907: I have started looking for your plate. Ah! I will not describe it to you yet: it does not come according to what your book should evoke. Besides I am not rich in imagination let alone in symbolism I remain as you have noticed a naturalist but not a realist and to summarize the impression of your Les Immémoriaux one would have to be Gauguin. Finally even so I am not losing hope of doing something; only that I need a little more time to study it.. Monfreid will produce two trial woodcuts whose sizes 22 x 12 cm and 23 x 16 cm were not adapted to the edition each time using the same formidable and frustrated figures Segalen wanted. Our woodcut seems to be the final version of these studies perfectly adapted to the in-12 format of Mercure de France. However the illustration includes the name of the author at the top yet Segalen a naval officer could not sign a novel and had to choose a pseudonym Max-Anély. This constraint may have contributed to this much-desired frontispiece being abandoned. However in all likelihood it was validated by the two trial woodcuts. Monfreid will also use the same male face to produce the ex-libris requested by Segalen. In his letter dated 2 November the poet already imagined a confidential print for Monfreid's work. In the end only two color copies of this proof enhanced in gold seem to have been preserved the second being today in the collections of the Musée Maurice Denis in Saint-Germain-en-Laye. The artist had likely printed one for himself and offered the other to Segalen who dreamed of owning etching of the one he called his ""Boss"" and to whom he would dedicate his collection of poems Peintures. unknown
1980C86473AW Fine Arts. As New. 1980. Hardcover. 0915346370 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- - 272 pp. Illustrated. Reprint. Text in French. -- 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 . AW Fine Arts hardcover
198086473AW Fine Arts. New. 1980. Hardcover. 0915346370 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- - 272 pp. Illustrated. Reprint. Text in French. AW Fine Arts hardcover
193984556Vigot Freres. As New. 1939. 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 - - - Corresponds to ASIN: B00144DQHK. Text in French. 46 pp. 41 photos -- with a bonus offer-- . Vigot Freres. paperback
193984557Vigot Freres. As New. 1939. 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 - - - Corresponds to ASIN: B003VIFOWC. Text in French. 46 pp. 41 photos -- with a bonus offer-- . Vigot Freres. paperback
1987106324Nathan. New. 1987. Hardcover. 2092847341 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in French. 333 pages; many illustrations both in color and in black and white. -- with a bonus offer-- . Nathan hardcover
1987BN51362München : Hirmer 1987. Deutsche Erstauflage EA. <br/><br/>Kunst München : Hirmer unknown
1987004404Fribourg: Office du Livre 1987. First Printing of First German Edition. Hardcover. Very Good. 335pp. illus. color. 31cm. Small folio. Hardcover. Publisher's original wheat color linen over boards lettering stamped in walnut to spine and blind to upper cover. Book Condition: signs of handling to covers interior pristine and unmarred. Plain stapled cardboard slipcase as issued small split to one corner else fine. Lacking the dust jacket. In German and scarce as such. Translated from the original French "Gauguin: Vie Et Oeuvre" by Guido Meister. <br/><br/> Office du Livre hardcover
51-3873Paris: L'Ymagier 9 rue de Varenne 1894-1896. . 2 vols. 278 244pp with hors texte plates. Complete with 8 issues. Original symbolist paper covered boards with later half goatskin spine and corners. 20 x 26cm. With 11 handcolored folding plates printed by Pellerin à Epinal several with repaired tears; original lithographs and woodcuts by Whistler Jarry Bernard et al. Lacking the print by Rousseau. See complete list below.________________________Vol 1: 1894. 278 pp….N°1 : comprising a leaf bearing a title and a miniature by Filiger printed in mauve a Head of a Martyr by R.G. Rémy de Gourmont a drawing by Émile Bernard printed in blue forty old images and vignettes; on large folio Épinal folding images printed in colors 620 x 380 mm and 615 x 395 mm: Jesus sur la Croix…. - - N°2 : with a woodcut in red by Armand Séguin 1869 – 1903 Les Bretonnes Breton women an original print by E. Forbes-Robertson Adam and Eve numerous woodcuts of which two from Indochina printed on 2 ll. of folded China paper lithograph “L’Annonciation†signed R.G. Rémy de Gourmont printed in black an original lithograph by Alfred Jarry Caesar-Antichrist “Bedouin†an unpublished drawing by Emile Bernard and two folding Épinal images: Le miroir du Pâ€echeur des Pyramides 400 x 580 mm and Bonne Bière de Mars 420 x 509 mm. Lacking: an original lithograph by Douanier Rousseau War ….-- - N° 3 :. Numerous illustrations in text and hors texte among them: La Madeleine after a woodcut printed in dark orange by Paul Gauguin “The Bishop†an original woodcut in dark green by Georges d'Espagnat an original woodcut in black by Alice Feurgard an original drawing printed in blue by Emile Bernard an original drawing printed in dark green by Jossot an original woodcut in bistre by M. Delcourt; an Épinal folding image printed in colors Saint Claude…. - - - N° 4 :. Numerous illustrations to text and hors texte including: an original sketch cut onto mahogany wood. “Sainte Gertrude†by Alain Jans Alfred Jarry;a woodcut “La Peur†in black by Georges d'Espagnat an original drawing printed in black by Roderie O'Conor; an original drawing printed in blue by Émile Bernard a folded woodcut very pale 455 x 198 mm two folding Épinal images printed in colors : Saint Nicolas and Notre-Dame des Sept Douleurs….Volume II. Issues 5-8. 224 pages….- N°5 : . Numerous illustrations to text and hors texte including: an unpublished original print and folding plate by Jean-Baptiste Auguste Clésinger of Two Bulls printed in black 281 x 430 mm an original unpublished lithograph by James Abbott McNeill Whistler on China paper between silk paper guards: “Girl With Bowl†Stratis & Tedeschi 118; Way 82; Levy 121; first bearing a title folding facsimile of a vernacular colored image entitled Le vrai portrait du Juif-Errant…A true portrait of the Wandering Jew… 485 x 304 mm folded fragment of an enormous former engraving 368 x 305 mm. Printed by Lefevre-Corbinière….- - N° 6 :. Numerous illustrations to text and hors texte including a folding Épinal image in colors Les 3 Chemins de l’Etnernité. ….- - - N° 7 : . Numerous illustrations to text and hors texte including an original woodcut of Jesus on the cross with Crying Woman by Émile Bernard printed in red on strong grey tinted paper; previous page with clean tear a folding Épinal image in colors showing St. Blaise et St. Guerinand and a color lithograph: L’Arche de Noé. Noah’s Ark from the 12cth Century…. - - - N° 8 : . Numerous illustrations to text and hors texte including: L’Annonciaiton by Emile Bernard; a color Epinal folding plate of Napoleon 1er; a vernacular image of a procession in colors in the form of a folding banner 280 x 475 mm; triangle; an original woodcut“Les Pendus†by Georges D’Espagnat and a red woodcut: Santo Cristo with Christ wearing a skirt….From the Van Gogh Museum:At the fin de siècle printmakers often turned to primitive art forms and popular visual culture for sources of inspiration.In this vein the French Symbolist writers Alfred Jarry and Remy de Gourmont founded L’Ymagier an ambitious art review. Here they presented the works of contemporary printmakers next to examples of medieval woodcuts and popular prints known as Épinal.L’Ymagier’s interest in religious Épinal and medieval woodcuts was rooted in a fervent desire to achieve a more authentic form of modern art. For Jarry archetypal Christian symbols such as the Passion and the Virgin Mary possessed universal meaning of continued importance to contemporary artists.This interest in the past was shared by the artists of the School of Pont-Aven who looked to the traditions and rituals of the Breton peasants for creative inspiration.L’Ymagier helped to revive contemporary interest in the woodcut technique for artists like Edvard Munch and Emil Nolde.Juliet Simpson:Remy de Gourmont's and Alfred Jarry's journal L’Ymagier published in eight issues between October 1894 and January 1896. In attempting to create a 'book of symbols' structured explicitly around the image notably the popular image the L’Ymagier project develops the verbal-visual problematic exemplified by the Symbolist 'illustration'. It also raises some very fundamental questions about artistic homologies in general which test Symbolist theories of synthesis to their limits. As I hope to show Gourmont's and Jarry's appropriation of the popular image as the inspiration ror L’Ymagier becomes a strategy for destabilizing hierarchies or images and texts including Symbolist ones which has both radical aesthetic and political implications.Bolliger Dokumentations-Bibliothek Zur Kunst Des 20. Jahrhunderts II 243; VI 829;Library of Congress Control Number41040620 Paris: L'Ymagier, 9 rue de Varenne, 1894-1896. hardcover
2019211557Heidelberg: Kehrer Verlag 2019. Hardcover. As new. Small square quarto. Hardcover. Bund in patterned orange cloth with white titles. No jacket presumably as issued. 157 pages : color illustrations portraits ; 25 cm. On the occasion of the upcoming 90th birthday of Franz Gertsch MASI invites the artist to plan an exhibition devoted to his oeuvre. This has led to a remarkable and striking meeting between Gertsch's outstanding woodcuts and the wood engravings by two artists whom he regards as much more than simply pioneer revolutionaries of xylography Paul Gauguin and Edvard Munch. Despite their historical distance and stylistic divergences these three artists display profound and unexpected affinities which extend far beyond the technique they share. --Museum website. <br /> <br /> Chiefly illustrated./ Published on the occasion of the exhibition held at MASI-Museo d'arte della Svizzera Italiana Lugano Switzerland 12 May-22 September 2019./ Includes bibliographical references pages149-150. Kehrer Verlag hardcover
193491985Floury. As New. 1934. 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. 193 pages; 63 images including 8 in color. -- with a bonus offer-- . Floury paperback
1908511936Paris: Office Central de Librairie 1908. Softcover. Very Good. First edition. 16mo. 38pp. ads. Printed wrappers. Gallery's small ink rubberstamp on inside back cover wrappers are lightly dust soiled with a slight vertical crease along the foreedge else a very good or better copy. Office Central de Librairie unknown
1996BN154739Könemann 1996. 1996. Hardcover. Paul Gauguin 1848 - 1903 <br/><br/>Paul Gauguin 1848 - 1903 Marla PratherCharles F Stuckey Paul Gauguin Könemann hardcover
1998Q-0838637493UNKNO 1998-08-01. Hardcover. New. In shrink wrap. Looks like an interesting title! UNKNO hardcover
1988130334Galerie Kornfeld. As New. 1988. Hardcover. 3857730196 . - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - with a bonus offer-- . Galerie Kornfeld hardcover
196546451New York: Tudor Publishing Company 1965. First Edition; First Printing. Softcover. Very Good in wrappers. ; Petite Encyclopedie De L' Art; 16mo 6" - 7" tall. Tudor Publishing Company unknown
15-7244San Francisco CA: Pasquale Iannetti Art Galleries 1994. Photographs 60 Eight Negatives VG with minor shelf wear. Pasquale Iannetti Art Galleries photo documentation. San Francisco, CA: Pasquale Iannetti Art Galleries, [1994?]. unknown
15-7119San Francisco CA: Pasquale Iannetti Art Galleries 1986. Photographs VG with some shelf wear. Pasquale Iannetti Art Galleries photo documentation. San Francisco, CA: Pasquale Iannetti Art Galleries, [1986?]. unknown
189684738s. l. Tahiti 1896. Fine. ""I'm gifted he says to the point of making others jealous."" s. l. Tahiti août 1896 20.50 x 27 cm quatre pages sur deux feuillets Yes I have sarcasm in my words yes I do not know how to flatter and bend my back how to beg in official salons I am nothing but a braying schemer but if I had submitted - yes I would be comfortable."" Long autograph letter dated August 1896 and signed by Paul Gauguin to painter Daniel de Monfreid. Four pages in black ink on two lined sheets. Small tears to margins not affecting the text traces of folds inherent to sending. In the midst of his descent into hell abandoned in his Tahitian artificial paradise Gauguin feels cursed : Definitely I was born under a bad star. he laments. His quest for primitive freedom leaves him in destitution and misery. Suffering agony the painter sends paintings to one of his few supporters his faithful friend Daniel de Monfreid - but writes the wrong address. Published in Lettres de Paul Gauguin à Georges-Daniel de Monfreid 1918 p. 146 n° XXIII; our letter reveals the name of Émile Schuffenecker his friend and associate on the Paris stock exchange and then Pont-Aven - anonymized in the published version - whom Gauguin vilifies on numerous occasions in these pages. This exceptional missive was written in Tahiti where the painter had returned the previous year bidding a final farewell to the old Europe. Gauguin had just come out from a stay in hospital in Papeete to treat his bruised legs following the beating he had received in Concarneau two years earlier for defending his muse Annah the Javanese. The painter could not escape the aftermath of this altercation and suffered from a terrible purulent eczema on his leg as well as syphilis drowning his torments in alcohol. The letter is a perfect example of Gauguin's correspondence from the summer of 1896 which ""smells of the fever that has seized a mind overheated by pain and lack of sleep"" David Haziot. In his confusion the painter misspelt the address of Monfreid's studio at the Cité Fleurie a famous chalet-like artists' residence where Gauguin had stayed : I sent you a bunch of paintings last month. I'm afraid for them because it seems to me that I put 55 Bd Arago instead of 65 This mailing included his composition Eihaha Ohipa painted in his studio in Punaauia and now kept at the Pushkin Museum in Moscow. Shipped via a naval officer - fees to be paid by Monfreid - the paintings did not arrive until November. Beyond his feverish fears Gauguin delivers in these lines a true manifesto of his integrity as an artist - the perfect counterpart to his famous Christlike self-portrait Near Golgotha painted around the same period. To him his destiny and generosity are nothing short of Christ-like: in the most difficult moments of my life I more than shared with unfortunate people and never had any reward other than complete abandonment. He had in fact helped display Schuffenecker's paintings in Impressionist exhibitions saved his friend Laval from suicide and opened his purse to so many others. Instead of returning the favor Schuffenecker prefers to feel sorry for himself: Schuff really wrote me a crazy and unfair letter and I don't know what to answer because he is a sick mind . he would be more unhappy than me who has glory strength and health. Let's talk about it! I'm good at making others jealous he says. Gauguin who had always refused to make concessions and compromise is finally betrayed by one of his closest relations Schuffenecker who becomes in the letter a true Judas Iscariot: Schuff has just made a useless petition I believe for the State to come to my aid. This is the thing that can offend me the most. I'm asking friends to help me out for the time it takes to get back the money I'm owed and their efforts to recover it but begging the State was never my intention. The painter reaches a point of no return not only bruised in his flesh but also unknown
