SEGALEN (Victor) - GAUGUIN (Paul, ill. de).Livre Rare Book
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192131699Paris, Editions Georges Crès et Cie, 1921 (sous étiquette de relais en page de titre et couverture renouvelée à l'adresse des Editions Plon, 1929). Un vol. au format in-12 (188 x 123 mm) de 312 pp. + catalogue éditeur in fine, broché.
1963122387Sykorova, Libuse: Les gravures sur bois de Paul Gauguin. Artia, 1963. Hardback. 36x23cms. Text in French.
1963122387Sykorova, Libuse: Les gravures sur bois de Paul Gauguin. Artia, 1963. Hardback. 36x23cms. Text in French.
83293Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
83294Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
83292Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
83291Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
69730Paris Les Editions de l’Amateur 2003. 4° 157 S. 110 farb. Abb. Kart. m. OU OU etw. gebrauchsspurig u. tlw. randknittrig Buch tadellos. Erstausgabe. 010 Paris, Les Editions de l’Amateur, 2003 unknown
2003283416Paris: Les Editions de l'Amateur 2003. 157 S., 110 farb. Abb. 4° Kart.mS. *sehr gutes Expl.*.
83346Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
83318Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
83317Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
83345Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
83344Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
83343Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
83320Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
83319Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1889. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
P., Editions Avant & Après, 1996. Grand in-4 (29x25.5cm) relié toile illustrée, sous étui toile bleue, 102 pp. Nombreuses illustrations couleurs et/ou noir et blanc dans et hors texte. Imprimé sur les presses de l'imprimerie Arte Adrien Maeght. Edition originale, n° 87/1000.Quelques lettres de titre au dos effacées sinon TB état.
1921316991921. Paris Editions Georges CrÂs et Cie 1921 sous ÂŽtiquette de relais en page de titre et couverture renouvelÂŽe ˆ l'adresse des Editions Plon 1929. Un vol. au format in-12 188 x 123 mm de 312 pp. catalogue ÂŽditeur in fine brochÂŽ. Edition CrÂs de 1921 sous couverture et ÂŽtiquette de relais ˆ l'adresse des Editions Plon. L'ouvrage s'agrÂŽmente de compositions de Paul Gauguin - dont 3 inÂŽdites - gravÂŽes sur bois par Georges Daniel de Monfreid. Victor Segalen alors tout jeune mÂŽdecin de la marine dÂŽbarque ˆ Tahiti en janvier 1903. Le projet des ImmÂŽmoriaux - paru originellement sous le pseudonyme de Max AnÂŽly - na”t presque aussit™t dÕun contact physique de celui-ci avec la terre la langue et les peuples polynÂŽsiens. ''Pendant deux ans en PolynÂŽsie ÂŽcrira SÂŽgalen jÕai mal dormi de joie''. Le livre - ˆ la dimension tout aussi littÂŽraire qu'anthropologique - se prÂŽsente principalement comme le contre-pied absolu dÕun certain Ç mythe tahitien È dont la miÂvrerie ÂŽtait incompatible avec le projet essentiel de l'auteur. Ce quÕexalte Segalen ce nÕest en effet pas lÕidylle suave avec la nature mais une sociÂŽtÂŽ pa•enne guerriÂre habile au plaisir comme ˆ la cruautÂŽ. Entre rÂŽcit du dÂŽclin et de la chute de la civilisation Maori ce tÂŽmoignage est emprunt d'une extraordinaire invention verbale servie par une puissante architecture dramaturgique. A ce titre il demeure lÕun des livres fondateurs de lÕimaginaire anthropologique moderne.Christian Doumet. Petit manque en pied du dos ainsi qu'en marge droite du premier plat. Petite plissure angulaire aux feuillets liminaires ; lesquels sont en outre lÂŽgÂrement effrangÂŽs. Papier lÂŽgÂrement oxydÂŽ pouvant prÂŽsenter de claires et discrÂtes rousseurs. Petit manque en marge du dernier feuillet catalogue ÂŽditeur. Du reste bonne condition. b42961 unknown
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
1924782491924. Fine. s. d. 1924 9.30 x 7.80 cm autre Les Odalisques aux mangues. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreidbetween 1904 & 1924 93 x 78 cm one leafOriginal proof likely unique of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after Paul Gauguin. Print on fine cream laid paper annotation by the artist in the left-hand margin. Woodcut drawn and engraved after two different works. The back of the woman is an exact reproduction of an ink from page 92 of the Noa Noa manuscript while the woman lying down takes up the well-known theme of the woman with mangos Te Arii Vahine-Opoi that Gauguin represented in paint as well as with an engraving in 1898. The final woodcut will serve as the head of chapter V of the first true illustrated edition of Noa Noa published by Crès in 1924 the first illustrated work from Paul Gauguin and a majestic tribute to one of the precursors of modern art. Superb and significant engraving uniting two major themes of the Tahitian work including the central drawing of the Noa Noa manuscript faithfully engraved by Gauguin's closest friend and executor the artist George-Daniel de Monfreid. A likely unique proof part of 17 known test woodcuts from the project to prematurely publish Noa Noa all made on various fine papers and annotated by the artist. Woodcut engraved from two major original works. By uniting these two vahines with sensual postures Monfreid brings about a true synthesis of Gauguin's work all while using the traditional double figure of the artist's paintings. It is from the original illustrated manuscript of Noa Noa brought back from Tahiti by Segalen on the artist's death in 1903 that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this to read and look at notebook. The first manuscript written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893 responded to a different project. Gauguin had composed only the text interspersed with blank pages for Morice's poems. But after several years without news Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin therefore copied his manuscript and illustrated it during his second stay in Polynesia with sketches watercolors and collages. This album that the artist enriched and safely preserved until his death is preserved today at the Musée d'Orsay. It is therefore from this manuscript the only one illustrated that Monfreid composed the edition of Gauguin's Noa Noa. However although Monfreid's publication was forward it took more than twenty years to complete in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript and to the whole of Gauguin's Tahitian work who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings while scrupulously respecting the artist's line transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin who in Pont-Aven produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The intermediate woodcuts until then unknown testify to the slow work of composition to restore the artistic richness of Gauguin's work by his most faithful artistic companion and first champion: When I saw Gauguin for the first time I was greatly disconcerted by the details of art that radiated from his works as well as from the conversati unknown
EXE00400Paris, Bernard Grasset, 1949. In-8° broché, couverture illustrée. Avec 32 reproductions et fac-similés.
1918754251918 Paris, Crès, 1918, in 12 broché, 359 pages.
2010ABE-1774302440318304 PAGES-23,3 CM X 28,3 CM-HISTOIRE-SCIENTIFIQUES ET EXPLORATEURS-ECRIVAINS-ARTISTES-(E326)
1918AUB-8241Ed. Georges Crès et Cie 1918. Exemplaire S.P. Bon exemplaire broché, in-8, 357 pages + planches.
