23 résultats
1896005027Châtillon 1896 In-8 Broché Bon
18956263Paris, Charles Delagrave, 1895, Relié, 302 pages.
1895ABE-952243572820 PAGES FORMAT 32 CM X 24,5 CM-NOTES DE LA SEMAINE: L'IMPOT SUR LES DOMESTIQUES/1P PAR FRANCISQUE SARCEY-ETUDES ET CROQUIS: COROT (SOUVENIRS PERSONNELS)/1P PAR JULES CLARETIE-PORTRAITS CONTEMPORAINS/GRAVURES DE CAMILLE DOUCET, GASTON BOISSIER, EMILIE BROISAT, LECONTE DE LISLE, JOSE MARIA DE HEREDIA-PAGES OUBLIEES: HISTOIRE DE MES CHIENS LUTHER, ZAMORE ET DASH/2P PAR THEOPHILE GAUTIER-UN SOUPER CHEZ IRVING/1P PAR ADOLPHE BRISSON-ACADEMIE FRANCAISE: RECEPTION DE M.JOSE MARIA DE HEREDIA/DISCOURS DE J.M.DE HEREDIA/1P/REPONSE DE FRANCOIS COPPEE/2P
18913246De la série “Les artistes célèbres”. Broché Paris Paris, Librairie de l’art, 1891 1891 1 volume in-4°
1893052165Paris: Paul Chevallier Georges Petit 1893. First Edition . Stiff Wrappers. Very Good/Good Dustjacket. 36.7 Cm / 14.5" Tall. Plain Stiff Cardboard Wrappers Printed Dust Jacket. Descriptions Of 75 Works Of Art With Full-Page Rotogravures Of 21 Each Description Accompanied By The Price In Pencil. Spine Cracked Very Worn Chipped With Some Loss Of Paper Cover Along Spine. Dampstain To Front Cover At Bottom Not Affecting Interior. <br/> <br/> Paul Chevallier, Georges Petit unknown
1846260581846 Le Pont de Mantes (de la collection de Mr Defoer) gravé par Henri GUÉRARD (Paris 1846 – Paris 1897) d’après le tableau de Camille COROT (Paris 1796 – Paris 1875)- Feuille : 190 x 265 mm- Coup de planche : 165 x 230 mm,sur chine collé,bon état.
18838077Belle épreuve sur Chine appliqué. D'après Corot. Sanchez et Seydoux (ne mentionnent pas d'épreuve sur Chine) 1883-19. en feuille Très bon Paris Gazette des Beaux-Arts 1883 16,7 x 23,7cm.
18898075Belle épreuve sur Chine appliqué. D'après Corot. Sanchez et Seydoux (ne mentionnent pas d'épreuve sur Chine) 1889-17. en feuille Très bon Paris Gazette des Beaux-Arts 1889 16,5 x 23,5cm.
186522788Paris Pierre Petit Photographe 31, place Cadet 1865 une photographie originale "CARTE DE VISITE" albuminée en noir, format : 5,3 x 9 cm pour la photo, 10,3 x 6 cm avec le carton ou la photo est contrecollée, Année : Circa 1865, Paris Pierre Petit Photographe 31, place Cadet,
1862212681862 Eau-forte et pointe-sèche sur papier Chine appliqué du deuxième état sur trois à grandes marges, 1862, 7.1 x 12 cm. (format à vue), 21.5 x 28 cm. (format de la feuille), signée dans la planche en haut à droite.
1875015992Paris Drouot. Boussaton & Baubigny 1875 in-8° Broché
186336846Paris: Published by A. Cadart and F. Chevalier Editeurs rue Richelieu 66 1863. Etching. Printed on laid paper partial watermark Annonay. This is a rich impression of the third state of four of Corot's famous landscape etching "Souvenir d'Italia."<br/> <br/> Jean Baptiste Camille Corot was a founding figure in the Barbizon school and his transient atmospheric landscapes are often considered precursors of impressionism. Born in Paris Corot studied under the neoclassical masters Michallon and Bertin but he advocated a more naturalistic painting technique and pioneered the practice of painting in the open air. Corot was also an innovative printmaker who mastered etching lithography and glass printing. In 1825 he made the first of three trips to Italy where he was greatly influenced by both the art that he viewed and the landscape he traveled through. It was not until the age of fifty that Corot learned to etch and it was from his early Italian sketches that the majority of his fine etchings derive. This remarkable print is a superlative example of Corot's distinctive sketch-like engraving style. Corot's use of soft wispy outline and hazy diffused light is characteristic of his later style which seems to perfectly capture the mood of a landscape. Corot was one of the most important French printmakers of the nineteenth century and this haunting print is one of the best examples of his beautiful etched landscapes. It was included in one of the first collections of the Society de Aqua-Fortistes publications by Cadart. Between 1862 and 1866 the Societe des Aqua-Fortistes produced a five-volume collection of artists' etchings entitled "Euax-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. V p. 50 no. 5 iii/iv; Benezit Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs.7; Delteil Le Peintre-Gravure Illustre vol. V no. 5 iii/iv; Laran Inventaire du Fonds Francais après 1800 vol. 5 p. 186 no. 5. Published by A. Cadart and F. Chevalier, Editeurs, rue Richelieu 66 unknown
1873275461873 Paris : Siège de la Société Iconographique, [s.d.]- In-fol. couvertures factices - 25 GRAVURES,lithographies à la plume, impressions sur chine collé, complet ; très rare, un seul exemplaire dans les bibliothèques publiques (BNF)- 469652462
18661181866. Etching on cream wove paper. 5 1/2 x 4 3/8 inches 138 x 110 mm full margins. Third state of 4. Light scattered age tone and time stain. Scattered extremely light areas of minor spots of foxing at extreme sheet edge. Hard crease along lower sheet margin appx 1/2 inch from sheet bottom. Inscription in pencil at sheet edge. Light pencil inscriptions on sheet edges verso. All well outside of image area. Impression is richly inked with all of the fine lines printing clearly.<br /> <br /> Delteil 8iii. Jean-Baptiste-Camille Corot 1796-1875 is an esteemed name in a very distinguished century for French art. Though best-known as a landscape painter he was also a prolific and masterful printmaker. Renowned for bridging the Neoclassical tradition with Realism and a plein air approach Corot struggled to gain acceptance amongst the European artistic establishment. He traveled extensively in Italy and France finally settling in the Barbizon region near Fountainbleu. It was here that his landscapes all painted outdoors appear to focus on mood and expression. His luminous and atmospheric landscapes are evidence of his great admiration for the Impressionists. In addition Wooded countryside is an excellent exemplar of the use of repoussoir elements typifying the technique utilized by many romantic artists. This can be seen in the arrangement of trees in the foreground to frame a vista inviting the viewer to contemplate the background without featuring the foreground. unknown
187634700Paris: A. Lévy 1876. Near fine. Lovely limited edition of this attractive collection of etchings from some of the leading lights of the Barbizon school of realist painters. The Barbizon school style sprang up in contrast to the popular Romantic Movement of the early to mid-19th century. Painters that favored realism flocked to the small town of Barbizon France to paint pastoral landscapes and scenes of rural people engaged in agrarian pursuits. LE PAYSAGISTE AUX CHAMPS collects pieces from and information about some of the best-known members of the Barbizon school including Charles-François Daubigny and Frédéric Henriet. A beautiful copy. 10.5'' x 6.75''. Original blue pictorial cloth binding. Gilt edges. Brown endpapers. Pictorial title page and engraved frontispiece with 22 etchings. Text in French. viii 244 pages including index and one page of errata. Binding with a bit of bumping to spine ends and corners a hint of edgewear; tiny spot of soil to spine. Plates mildly toned. Remarkably bright and clean. A. Lévy unknown
186071188Paris: Anatole Pougnet 1860. Fine. Anatole Pougnet Paris s. d. circa 1860 6.30 x 10.50 cm une photographie Extremely rare original medallion photograph on albumen paper carte de visite format mounted on a card from Anatole Pougnets Paris studio. Manuscript annotations on the verso. No other copy of this photograph has been traced in international public collections. Anatole Pougnet unknown
1879005840France: Henri Marie Petiet 1879. First plate before the reworked second plate. Etching. Very Good . Etching on ivory colored laid paper. Measurements plate 23.8 cm x 15.8 cm est. the lower plate mark has been excised. Sheet: 39 × 28 cm. Verso of print bears the stamp “H.M.P.â€. H.M.P. was the stamp of the celebrated Paris dealer Henri Marie Petiet 1894-1980 a premier source for 19th-century French prints. A faint violet stamp “Rusu" not in Lugt is an earlier unidentified library or dealer mark. Edition: Early proof or small edition of the first plate as opposed to the reworked or second plate. Condition: Strong even inking with crisp linework. No foxing or tears visible. Provenance: Stamped on verso with “H.M.P.†Lugt 5031 the collector’s mark of Henri Marie Petiet 1894–1980 renowned Parisian art dealer and one of the key figures in the mid-20th-century market for French prints. Petiet was known for acquiring and preserving major print collections including works by Degas Bonnard Vuillard and Corot. His stamp authenticates this impression as part of his holdings and adds significant provenance value. Corot executed only a handful of etchings in his lifetime and this composition is the most famous among them. Provenance and Rarity. Delteil 1; Melot C 1; Robaut 3285. Similar impressions are held by: The Cleveland Museum of Art The Art Institute of Chicago The Bibliothèque nationale de France The Metropolitan Museum of Art which lists a slightly later impression from the second plate. Henri Marie Petiet unknown
187639335Paris: A. Lévy 1876. Corot. A LARGE-PAPER COPY WITH THE ETCHINGS BEFORE LETTERS. IX 243 pp. A most unusual book illustrated with 21 ORIGINAL FULL-PAGE HORS-TEXTE ETCHINGS and 2 reproductions by members of the Barbizon School all printed on cream-colored Dutch handmade laid paper COMPLETE. COMPLETE COPIES LIKE THIS ONE ARE EXTREMELY RARE AS MANY HAVE BEEN FULLY OR PARTIALLY DISMEMBERED. Includes Corot's "Solitude" Delteil and Melot 8 also known as "Wooded Countryside" and "The Cottage" and Daubigny's "Le 'Botin' a Conflans" Henriet 109 Delteil and Melot 119. ONE OF ONLY 135 LARGE-PAPER COPIES WITH ALL OF THE PLATES BEFORE LETTERS. Furthermore this is a presentation copy inscribed and signed by Henriet. The text is a collection of funny stories about landscape artists working outdoors. 4to. Original parchment wraps. A bit of wear to wraps but still in very good condition. Internally clean but for occasional faint foxing. RARE ON LARGE PAPER WITH THE PROOFS BEFORE LETTERS. <br/><br/> A. Lévy paperback
188955633Paris France: Louis-Michaud Editeur. As New. 1889. 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. 191 pages with 54 gravures & portraits. -- with a bonus offer-- . Louis-Michaud, Editeur paperback
1894102635Galerie Georges Petit. As New. 1894. 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. 14 pages; both paintings illustrated. -- with a bonus offer-- . Galerie Georges Petit paperback
186715407[], [], [1867-1870]]. 12 photographies « carte de visite » (60 x 90 mm) et 1 photographie contrecollée (8,5 x 12 cm), montées dans un album in-12 (120 x 150 mm) chagrin brun, dos lisse orné, tranches dorées, fermoir, initiales dorées P.O. [Parfaite Osmond ?] sur le plat supérieur, gardes moirées, un fermoir (reliure de l'époque).
186336846Paris: Published by A. Cadart and F. Chevalier Editeurs rue Richelieu 66 1863. Etching. Printed on laid paper partial watermark Annonay. This is a rich impression of the third state of four of Corot's famous landscape etching "Souvenir d'Italia."<br/> <br/>Jean Baptiste Camille Corot was a founding figure in the Barbizon school and his transient atmospheric landscapes are often considered precursors of impressionism. Born in Paris Corot studied under the neoclassical masters Michallon and Bertin but he advocated a more naturalistic painting technique and pioneered the practice of painting in the open air. Corot was also an innovative printmaker who mastered etching lithography and glass printing. In 1825 he made the first of three trips to Italy where he was greatly influenced by both the art that he viewed and the landscape he traveled through. It was not until the age of fifty that Corot learned to etch and it was from his early Italian sketches that the majority of his fine etchings derive. This remarkable print is a superlative example of Corot's distinctive sketch-like engraving style. Corot's use of soft wispy outline and hazy diffused light is characteristic of his later style which seems to perfectly capture the mood of a landscape. Corot was one of the most important French printmakers of the nineteenth century and this haunting print is one of the best examples of his beautiful etched landscapes. It was included in one of the first collections of the Society de Aqua-Fortistes publications by Cadart. Between 1862 and 1866 the Societe des Aqua-Fortistes produced a five-volume collection of artists' etchings entitled "Euax-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. V p. 50 no. 5 iii/iv; Benezit Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs.7; Delteil Le Peintre-Gravure Illustre vol. V no. 5 iii/iv; Laran Inventaire du Fonds Francais après 1800 vol. 5 p. 186 no. 5. Published by A. Cadart and F. Chevalier, Editeurs, rue Richelieu 66 unknown books
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.